What is Means to be Strategic and Create Value (UX Strat Summit, SF 2014)

WHAT IT MEANS TO
BE STRATEGIC
(AND CREATE VALUE)
Nathan Shedroﬀ
California College of the Arts
designmba.org
nathan.com
Saturday, June 14, 14

I come from a design background. In
my case, I’m trained as an
automobile designer, though I didn’t
go into the industry.

Instead, I went directly into
Information Design (which, at the
time, was mostly in print).

Professionally, I grew-up in Interaction
Design, working on presentations and
kiosks in the late 80s, CD-ROMs and
application interfaces throughout the
90s, and LOTS of websites starting in
1994. These are merely a fraction.

MAKE IT SO
Interaction Design Lessons from Science Fiction
by NATHAN SHEDROFF & CHRISTOPHER NOESSEL
foreword by Bruce Sterling
Many designers enjoy the interfaces seen in science fiction films
and television shows. Freed from the rigorous constraints of designing
for real users, sci-fi production designers develop blue-sky interfaces
that are inspiring, humorous, and even instructive. By carefully studying
these “outsider” user interfaces, designers can derive lessons that make
their real-world designs more cutting edge and successful.
“Designers who love science fiction will go bananas over Shedroff and Noessel’s delightful and
informative book on how interaction design in sci-fi movies informs interaction design in the real
world.... You will find it as useful as any design textbook, but a whole lot more fun.”
ALAN COOPER
“Father of Visual Basic” and author of The Inmates Are Running the Asylum
“Part futurist treatise, part design manual, and part cultural analysis, Make It So is a fascinating
investigation of an often-overlooked topic: how sci-fi influences the development of tomorrow’s
machine interfaces.”
ANNALEE NEWITZ
Editor, io9 blog
“Shedroff and Noessel have created one of the most thorough and insightful studies ever made
of this domain.”
MARK COLERAN
Visual designer of interfaces for movies (credits include The Bourne Identity, The Island, and Lara Croft: Tomb Raider)
“Every geek’s wet dream: a science fiction and interface design book rolled into one.”
MARIA GIUDICE
CEO and Founder, Hot Studio
www.rosenfeldmedia.com
MORE ON MAKE IT SO
www.rosenfeldmedia.com/books/science-fiction-interface/
MAKEITSObyNATHANSHEDROFF&CHRISTOPHERNOESSEL
Experience Design 1.1
a manifesto for the design of experiences
by Nathan Shedroff
product taxonomies 16
user behavior 116
100 years 22
information 42
takeaways 28
data 36
knowledge 48
subjectivity 78
consistency 96
navigation 84
user behavior 116
experiences 4
experience taxonomies 10
100 years 22
wisdom 54
information 42
takeaways 28
data 36
knowledge 48
subjectivity 78
consistency 96
navigation 84
Design Strategy in Action
Edited by Nathan Shedroff
A publication from the MBA in Design Strategy program
2011
2008 Edition
Dictionary of
Sustainable Management
I’ve written, designed, and
contributed to a lot of books (mostly
on some aspect of design). These are
the most important, though not all.

In 1996, I started working on
experience, brand, online, and
corporate strategy for a variety of
companies, mostly in online ventures.
This opened-up a new set of
understandings for me about the
product/service work I did—so much
so that in 2006 earned an MBA.

MBA IN DESIGN STRATEGY
MBA IN STRATEGIC FORESIGHT
MBA IN PUBLIC POLICY DESIGN
Designer (industrial, information,
interaction, experience) turned
business consultant and strategist,
now, an educator. I’m here to share
how we teach experience, value,
design, and business today to our
degree and executive students.

VALUE
You can’t talk about strategy
without talking about value and I
don’t believe we don’t talk about
value in the right ways in business,
and as people from the more design-
oriented side of business, it frustrates
us, trying to get our points across.
We are constantly struggling with the
idea of value and how its measured.

CLV = GC • - M •∑
i = 0
n
(1 + d) i
r i
∑
i = 1
n
(1 + d) i - 0.5
r i - 1
Lifetime Customer Value
GC = gross contribution per customer
M = (relevant) retention costs per customer per year
n = horizon (in years)
r = yearly retention rate
d = yearly discount rate.
EXPERIENCE CREATES VALUE
Economists resort to attempts
like these to prove that relationships
are important to business (how did
we get to the point where this is a
revelation?). create real value:
Companies have been trying to
assess this value for a long time.

Brand Value = { (V/S)b - (V/S)g } * Sales
(V/S)b = Enterprise Value / Sales ratio of the firm with the benefit of the brand name
(V/S)g = Enterprise Value / Sales ratio of the firm with the generic product
Let's use as an example branded cereals maker like Kellogg (K) against a generic provider like Ralcorp (RAH).
Value of Kellogg brand name = (1.78 - 1.32)(13846) = $6,369 Million
Thus, (6369/24200) or 26% of the value of the company is derived from brand equity.
But none of these methods get at the
total value, partly because they’re all
focused on the quantitative—only the
things that can be measured.

Other Metrics:
• Booz & Co Global Innovation Study (2012)
• Forrester’s Customer Experience Index
• UK Design Council
• BusinessWeek Index
etc.
DESIGN CREATES VALUE
dmi:
futurED
company 2011
$bb
rank % of
sales
1 Apple $2.4 53 2.2%
2 Google $5.2 26 13.6%
3 3M $1.6 86 5.3%
4 Samsung $9.0 6 6.0%
5 GE $4.6 30 3.2%
6 Microsoft $9.0 5 12.9%
7 Toyota $9.9 1 4.2%
8 P&G $2.0 72 2.4%
9 IBM $6.3 17 5.9%
10 Amazon $2.9 48 6.1%
“…The ten most innovative
companies outperformed the
top ten R&D spenders on all
financial metrics.”
Booz&Co Global Innovation Study
2012
And 9 out of 10 are DMI members
But none of these methods get at
“total value,” partly because they’re
all focused on the quantitative.

Instagram
Let me use an example. Last year, in
2012, Facebook bought Instagram
for how much money?

Instagram
$1.1B
$1.1B. Now you might argue that
Facebook overpaid and that’s their
business but they still did so because
it was valuable to them. But, how
did they calculate that value? How
would you? For example, what
was their book value?

Instagram
~$50M
No one who wasn’t part of the deal
knows for sure but I’m betting it was
around $100K. Even if you count the
money investors put into the
company, it was only a few million.

Instagram
$1.05B
~$50M
So, what accounted for the other
$1.05B in value? It was the
relationships they had created with
customers.

Pixar
$2.27B
$1.97B
(Disney)
They’re not the only ones.
This is a regular
phenomenon with
companies—especially
creative ones (but not only).

Nextel
$29.7B
$5.3B
(Sprint)
This is clearest when
companies are bought but
it’s true of companies at any
point in their lives.

“GOODWILL”
BOOK
VALUE
“Book value” or “fair value”
In the business world, we
don’t so don’t know how to
measure this, nor account
for it, so we call it
“goodwill.” In accounting,

BRAND VALUE
BOOK
VALUE
In the brand world, we call Brand
Value but that doesn’t account for
everything taht’s happening either, it’s
just a convenient placeholder for
what’s going on.

Instagram
$1.05B
~$50M
But, look again at the numbers.
Which is the number worth focusing
on? ALL the best value is “off the
books.” This is true of many, many
companies—any with a strong brand,
any with strong relationships, any that
deliver value that is off the books.
And, this isn’t just a phenomenon of
B2C ﬁrms. So, our deﬁnition of value
(not to mention our curation of it) is

TOTAL
VALUE
If we add these values together we
get the actual total value of a
company—one that better reﬂects
the relationships with customers (and
shareholders).
Businesses know that this value
exists but because they can’t
measure it easily (and they’ve been
told to only “look at the numbers” for

FUNCTIONAL VALUE
+ FINANCIAL VALUE
+ EMOTIONAL VALUE
+ IDENTITY VALUE
+ MEANINGFUL VALUE
= TOTAL VALUE
So, here is what I’ve learned about
Total Value. There are at least 5 types
of signiﬁcant value that contribute to
Total Value.

TOTAL VALUE
QUANTITATIVE
FUNCTIONAL VALUE
+ FINANCIAL VALUE
+ EMOTIONAL VALUE
+ IDENTITY VALUE
+ MEANINGFUL VALUE
=
This is the value most business
people see. Some of this value is
more quantitative, for which
businesses have traditionally focused
upon.

TOTAL VALUE
QUALITATIVE
FUNCTIONAL VALUE
+ FINANCIAL VALUE
+ EMOTIONAL VALUE
+ IDENTITY VALUE
+ MEANINGFUL VALUE
=
Much of this value is quantitative, for
which businesses has traditionally
ignored. In fact, this is where the
highest, more interesting, and most
fulﬁlling value is.
This is traditional business’
blindspot!

TOTAL VALUE
PREMIUM VALUE
FUNCTIONAL VALUE
+ FINANCIAL VALUE
+ EMOTIONAL VALUE
+ IDENTITY VALUE
+ MEANINGFUL VALUE
=
Much of this value is quantitative, for
which businesses has traditionally
ignored. In fact, this is where the
highest, more interesting, and most
fulﬁlling value is.
This is traditional business’
blindspot!

THOSE COMPANIES
(AND PEOPLE)
WHO FOCUS ON
TOTAL VALUE
CREATE MORE OF IT,
MORE OFTEN
Another way to say this is...

THOSE COMPANIES
(AND PEOPLE)
WHO FOCUS ON
PREMIUM VALUE
CREATE MORE OF IT,
MORE OFTEN
And who is good at developing
Premium value?...
(you all are)
Ok, so far, are you with me?

QUALITATIVE
VS.
QUANTITATIVE
And, in order to do so, we have to
better understand the Qualitative
—much better. The business world
has been notoriously bad at
understanding and valuing the
qualitative. To hear most
businesspeople and business
professors explain it, “people won’t
pay more for the same functional
value.” But, try telling that to a sales

QUALITATIVE
AND
QUANTITATIVE
For us, we can’t ignore the
quantitative. This is what designers
excel at. Both are necessary and we
need to become comfortable with the
quantitative as well as help our peers
become comfortable with the
qualitative. For now, we have to do
the work on both sides.
(Story of CEO, designer, and VP

TOTAL VALUE
(RELATIONSHIPS)
Relationships are the only way that
value exists. It emerges dynamically,
in the context of a relationship—all
relationships including personal
ones). And, it’s bi-directional.

TOTAL VALUE
(RELATIONSHIPS)
And, it’s bi-directional (something
we sometimes forget).

TOTAL VALUE
(RELATIONSHIPS)
NEEDSOFFER
INTENT
EXPERIENCE
A few things to remember about
Value: It is emergent. You don’t
decide on value. You can propose it
(which is why we have value
proposition) but because much of the
most important value is invisible, you
can only plan for and create the
conditions for value to be exchanged
but you can’t “make” it. This is why
Experience is so important.

TOTAL VALUE
(RELATIONSHIPS)
Value is dynamic. It is changing all of
the time. Most businesses are bad at
dynamic situations because plans are
hardly ever designed to be dynamic.
Most strategy isn’t designed to be
dynamic. That’s a problem.

R IE E
P
XE
N
CE
TOTAL VALUE
(RELATIONSHIPS)
Value is only exchanged within an
experience. Experiences govern the
value we create. And, we all create
experiences, whether we think we do
or not. I’ll come back to Experience in
a moment.

VALUE EMERGES
WITHIN EXPERIENCE
This is probably a more accurate way
to describe it. It’s not easy and it’s not
as deterministic as “experiences
create value” but its not so off that we
can’t use that phrase.

YOU’RE IN THE
RELATIONSHIP
BUSINESS
And so are your clients, partners,
peers, etc.

Let me give you another
example of this...
The iPod went on sale in
2001 but sales didn’t really
take-off until 2004. The
iTunes Store opened in April
of 2003 and this is what

So, the iPod became big
business for Apple but the
company but, around this
time, it noticed something
interesting about people’s
behavior. (people only want
to carry about three things

On September 7, 2005,
Apple and Motorola
launched the ROKR. You
don’t remember it because
it ﬂopped. Apple knew how
difﬁcult phones were (and
that they had no expertise).

It wasn’t until June 29, 2007
that Apple shipped it’s ﬁrst
iPhone.
It changed everything—for
Apple, for customers, and
for the industry.

EXPERIENCE IS
STRATEGIC
This makes experience strategic:
which means design and
architecture, are incredibly important.
They provides the basis and context
for understanding and delivering
value. Value emerges from the
experience delivered.
The better the experience, the
better the relationship, and the

DESIGN IS
STRATEGIC
This also means that Design is
strategic (since design is the
process of creating experiences).
Ok, still with me?

STRATEGY
Strategy is a word thrown-around in
business a LOT and it means different
things to different people.
Sometimes, it’s used as a way to
one-up others in a company (as in
“that’s really just a tactical suggestion,
we need to be strategic”).

Strategy
(Greek “στρατηγία”—stratēgia, “art of
troop leader; office of general, command,
generalship”[1])
is a high level plan to achieve one or
more goals under conditions of
uncertainty.
Strategy is also about attaining and
maintaining a position of advantage over
adversaries through the successive
exploitation of known or emergent
possibilities rather than committing to any
specific fixed plan designed at the outset.
—Wikipedia
Here’s a more ofﬁcial deﬁnition, from
Wikipedia

“a pattern in a stream of decisions”
— Henry Mintzberg of McGill University
Not much more helpful, eh?

Strategic management analyzes the major initiative
taken by a company’s top management on behalf
of owners, involving resources and performance in
internal and external environments.[1] It entails
specifying the organization’s mission, vision and
objectives, developing policies and plans, often in
terms of projects and programs, which are
designed to achieve these objectives, and then
allocating resources to implement the policies and
plans, projects and programs. A balanced
scorecard is often used to evaluate the overall
performance of the business and its progress
towards objectives. Recent studies and leading
management theorists have advocated that
strategy needs to start with stakeholders
expectations and use a modiﬁed balanced
scorecard which includes all stakeholders.
Blah, blah, blah.

Strategic management analyzes the major
initiatives taken by a company’s top
management on behalf of owners, involving
resources and performance in internal and
external environments.[1] It entails specifying
the organization’s mission, vision and
objectives, developing policies and plans, often
in terms of projects and programs, which are
designed to achieve these objectives, and then
allocating resources to implement the policies
and plans, projects and programs.
Notice, though, who the protagonists
are in this narrative... “on behalf of
owners”
Where are customers, citizens, or
even users?

STRATEGY IS
A HIGH-LEVEL PLAN
(FOR ACTION)
Really, all strategy is, is a plan--but a
high-level plan.
Product strategy is higher-level than
product design. But, technology
strategy may be higher still (and end-
up driving many product strategy
decisions). Marketing strategy and
corporate strategy are higher, still.

“DESIGN IS
A PLAN FOR ACTION”
Charles Eames
Coincidentally...

STRATEGY IS
ABOUT CONTEXT
The main difference between strategy
and tactics is simply context--your
organization’s, it’s competition, it’s
markets and industries, and the rest
of the world around it.
And, not everyone in an organization
is good at context. To be successful,
you need to b able to see both, jump
between the two, and know which

TACTIC
STRATEGY
There are a lot of parallels between
strategy and UX.

TACTIC
Usability
STRATEGY
Usability is a tactic.

TACTIC
Usability
Design (Craft)
STRATEGY
Experience
Design (Strategy/“Thinking”)
Experience is a strategy.
There are a lot of parallels between
strategy and UX. When people in a
company talk about usability, they’re
talking about features. However,
when you talk about experience,
you’re talking about relationships—
something much more valuable.

TACTIC
Operational Effectiveness & Productivity
Products & Services (Offerings)
Features/Performance
Price
STRATEGY
Intent, Goals, Mission, Vision, & Culture
Systems
Stakeholders (employees, investors, media,
communities, etc.)
Some more things that are strategic
or tactical...

TACTIC
How to make, deliver, and support the best
<offering> possible
STRATEGY
What we should be in the business of
(to begin with)
What this really boils down to is...

TACTIC
How to make, deliver, and support the best
<offering> possible
STRATEGY
What we should be in the business of
(to begin with)
THE ORGANIZATION
THE OFFERINGS
Or....
Now, I know that many of you may
shy away from dealing with company
issues. You went into product
development because you care about
creating great things for people.
Right? Getting mixed-up in the day-
to-day management details is just a
distraction, right?

Your
Company
customers
(end users)
NGOs
media
community
(geographic)
partners
labor unions
retailers
local
government
wholesalers
the
Environment
industry
trade
associations
employees
distributors
regional
government
courts suppliers &
manufacturers
insurers &
reinsurers
shareholders
banks
investors
institutional
investors
competitors
Your
Company
customers
(service
providers)
The ﬁrst way you build context is to
get to know your many
stakeholders—not merely
shareholders. Traditional business
strategy ignores all but those who
own shares in the company or,
begrudgingly, it might include
employees.
We know better now. All of these

STRATEGY TOOLS
Speaking of traditional business
strategy, let’s talk brieﬂy about some
of the common tools.
How many of you have heard of a
SWOT analysis? How many have
helped create one?

Strengths Weaknesses
Opportunities Threats
The SWOT Analysis is simply a set of
lists—the organization’s (or perhaps a
product’s) biggest strengths,
weaknesses, opportunities, and
threats—SWOT.

Strengths:
• We’re us
• We’re great
• We know stuff
• We’re fast
• We’re easy to use!
Weaknesses:
• We work too much
• We care too much
• We’re perfectionists
Opportunities:
• Own the market
• Expand product lines
• Make more stuff
• License stuff
• Co-brand with Disney
• Create an “experience”
Threats:
• Others can get fast
• Others can be easy
to use
• Someone gets to
Disney before us
• We don’t have a “big
data” strategy!
Most business people are taught to
simply ﬁll these in, like a form. They
list everything they can think of.
This is lazy.

Strengths:
• We’re us
• We’re great
• We know stuff
• We’re fast
• We’re easy to use!
Weaknesses:
• We work too much
• We care too much
• We’re perfectionists
Opportunities:
• Own the market
• Expand product lines
• Make more stuff
• License stuff
• Co-brand with Disney
• Create an “experience”
Threats:
• Others can get fast
• Others can be easy
to use
• Someone gets to
Disney before us
• We don’t have a “big
data” strategy!
How do you really know that fast or
perfection or Disney are what
customers want? Where is the rigor,
the proof, the research? What’s the
point of research if people are just
going to ﬁll-in the blanks based on
best guesses?
This is a phenomenon that plagues
most of strategy.

ENVIRONMENTAL
ANALYSIS
Social Issues: Customer Needs and Wants
Political Issues: Legal, Regulations...
Tech. Issues: Technology trends, opps...
Economic Issues: Market trends, opps...
Industry-Specific Issues: ???
What are the top concerns in the
market environment?
Do users want it fast? What drives
their decision? Are there issues
coming down the line from the courts
or regulation? (we’re already good
at much of this, too)

ENVIRONMENTAL
ANALYSIS
• Customers seek clarity
• Customers are afraid of technology
• RIM is out, HTML5 is in
• Lending is slowing
• Customers worried about their future
• etc.
Only when you’ve explored these can
you prioritize what matters (as
opposed to what’s possible).

COMPETITIVE
ANALYSIS
• Clarity
• Fear of technology
• HTML5
• Loan Help
• Reassuring
X
X
X
X
√
√
√
√
X
X
X
X
X
√
X
X
X
√
X
X
√
√
X
X
X
Once you know these, you can
compare yourself against your
competitors on the issues that
matter! (these are known as
decision-drivers)
Otherwise, you’ll be comparing your
organization on issues that don’t
drive decisions.

• Clarity • Fear of technology
• HTML5
• Loan Help
• Reassuring
NOW, you know which issues to
measure your strengths and
weaknesses are.

Opportunities
(Biggest
Strengths vs.
Biggest
Weaknesses)
Threats
(Biggest
Weaknesses
vs. Biggest
Strengths)
• Clarity • Fear of technology
• HTML5
• Loan Help
• Reassuring
And, your Opportunities and Threats
work themselves out.
SWOT should be derived from
research, not guessed-at, yet this
isn’t how it’s mostly done.

Better
Worse
Smaller Bigger
And, beware the tyranny of the 2x2
grid. There are always more than two
important variables, but it’s difﬁcult for
people to hold in their head. Yet, you
see it constantly. In the tech industry,
this is almost always reduced to price
vs performance.

Better
Worse
Smaller Bigger
Hey! A Blue
Ocean
Strategy!
Otherwise, the hole in the market
may not actually be an opportunity.

For <target customers> that <need/
care about> , our <product, service>,
company> is a solution that <benefit> .
Unlike, <our competitor> , our <product,
service>, company> is <unique
differentiator> .
POSITIONING
STATEMENT
This is the same problem with
Positioning Statements.
For example, this is how strategy is
usually done by our business peers. I
kid you not, this is how business
schools teach people to create a
positioning statement.

POSITIONING
STATEMENT
For our users that need the most
features , our app is a solution that is
fast and inexpensive.
Unlike our competitors , our app is in
the cloud.
We usually get something like this.
These are almost always simply ﬁlled-
in with what people “know” and not
derived from what they learn from
customers.
Ideally, these items are derived from
research about whom? (the
customer) In what way, qualitative or
quantitative? (both) And who does

POSITIONING
STATEMENT
For Professor Plum that needs to
kill someone , our noose
is a solution that is silent .
Unlike, Miss Scarlett , our noose
is purple.
It’s like a MadLibs for business.
This isn’t a bad tool, it’s just misused
most of the time.

The Business Model Canvas
Cost
Structure
Key
Partners
Key
Resources
Channels
Key
Activities
Value
Proposition
Customer
Relationships
Customer
Segments
Revenue
Streams
Customer research is at the core of
business models, not just corporate
strategy. Without it, the plan is set-up
for failure.

The Business Model Canvas
Cost
Structure
Key
Partners
Key
Resources
Channels
Key
Activities
Value
Proposition
Customer
Relationships
Customer
Segments
Revenue
Streams
This brings us to the last point I
want to make.
Business is about value (what value
you can provide, what value people
need, and what value you can get in
return).

When we abdicate our involvement in
higher-level decision-making, we lose
our ability to work on the right things
—or be successful, or be happy
making what we make.
In addition, I can assure you that
most of the information used in this
strategy phase is based on crappy,
quantitative data and doesn’t

All of us have an opportunity to play a
role not only in product development,
but also in the board room, where
strategy for the company is set (and
needs to reﬂect better customer
understanding) because we know
customers in better, deeper, and
more valuable ways and this
information is missing in nearly all
strategy development.

We need to get into the room.
We need to ﬁnd ways to get our
knowledge into the strategy process
to affect what the business thinks it
should make and not merely how.
Are you still with me?
Here are some ways to do that...

MYTHS OF BUSINESS
Cooperation is for wusses
Growth is everything
The Free Market (exists)
Markets optimize efﬁciently
Businesses are more efﬁcient than Government
“The business of business is business”
Rich people create jobs
“Corporations are people, my friend”
The Founding Fathers were pro-business
Leadership is based on authority
MBAs have essentially ruined the
world. OUR world. Partly, this is
because they’re taught a LOT of
myths about business, and this is a
big problem for those of us who
make things for people, whether
products or services.
I want to stress that MBAs aren’t bad
people, they’re just taught that way.

EXPERIENCE TOOLS
designmba.org/open-source-curricula

Qualitative Research
Techniques:
Interviews
Careful Surveys
Shadowing
Laddering
Games, etc.
Book: The Meaning of Things
by Mihaly Csikszentmihalyi
You know how to understand
customer, already! Design research
techniques (the qualitative ones, not
just the quantitative ones) ARE the
pieces missing when strategy is built.
The results from UX research
techniques, including some that
aren’t as common (like laddering)
need to inform strategy—and we

Flavor
Bright/
Saturated
Hard,
Artiﬁcial,
Natural
Curvaceous/
Smooth,
Solid,
Sharp/Pointed
Loud,
Simple/Clear,
Musical/Melodious,
Mechanical
Musky,
Bright,
Alcohol,
Forest/Plants
Meaty,
Salty
Accomplishment Triggers
SoundColor Materials Form Aroma
I hate “mood boards!” Essentially,
they’re unprofessional. Unless you
can explain why each element applies
to your solution, they’re a distraction
—or worse, delegitimizes your value.
If you are researching the triggers
around sensorial decisions, only
these are applicable responses to
understand. This isn’t about

Flavor
Primary Hard Complex Loud Forest/Plants Sweet - Sugar
Community Triggers

Flavor
Muted/
Desaturated Plastic Porous Natural/Organic
Natural,
Floral
Salty
Harmony Triggers

6. TRIGGERS//
Core meaning pair 1:
Community/Accomplishment
Colors: Bold / Gold Silver Bronze
Materials: Natural / Textured
Forms: Circular / Tall
Sounds: Chatter / ROCK!
Aromas: Wood fire, Chocolate, Earth
Flavors: MultiSpice

6. TRIGGERS//
Core meaning pair 2:
Beauty/Oneness
Colors: Bright, Colorful,
Materials: Rich
Forms: Organic, Simple
Sounds: Nature, Crickets, Singing
Aromas: Dewy Forest, Sweet, Salty Ocean
Flavors: Mint, Sweet

Core Meaning Triggers
Through on-line surveys and in-person qualitative interviews, we identified a series of triggers
that evoke the core meanings:
Community Beauty Freedom Harmony Truth
Colors Bright,
Green
Soft
Pastel
Bright
White and
Light
Warm
Muted
White, Dark,
Shimmery
Light
Material Natural, texture,
woven,
Smooth, Pliable
Shiny,
Natural
Natural,
rough, hard,
smooth,
flowing river
Smooth,
Earthy,
Natural,
Soft
Tough, Hard,
Natural
Form Round,
Organic
Curvaceous,
Fluid, Organic,
Complex
Open,
Complex,
Organic, Not
bound
Round,
Organic
Solid,
Sharp
Sound Laughter, not
Loud- like an
orchestra or lots
of voices, multi-
pitched
Soft,
Musical,
Complex
Musical,
Waterfall
Rhythmic,
Natural,
Balanced
Soft,
Resonant,
Silence,
Complex
Aromas Fruity,
Earthy, Food
Floral,
Soft,
Perfumed
Clean,
Fresh, Ocean,
In the woods
Nature,
Musty,
Fresh
Clean,
Fresh,
Antique
smell
Flavors Nutty
Sweet, Dinner
Sweet,
Fruity
Fruity,
Nutty, Meat
Sweet,
Warm,
Complex,
Mix
Salty
Sour, Minty

INITIATION (EXPECTATIONS)
STATE OF MIND (CONTEXT):
BACKSTAGE:
TOUCHPOINT ECOSYSTEM: PRODUCT, SERVICE, EVENT, NAME, IDENTITY/SYMBOL
MEDIA: SOCIAL, ETC?
LOCATION
EMOTIONS
TRIGGERS: VISUAL (COLOR, TYPE, LAYOUT, IMAGE, PATTERN), AUDIO, AROMA, TASTE, TOUCH, CONCEPT
MEMORY, BIAS, MENTAL MODELS
GOAL/VALUE
AGENT
ACTION/RESPONSE:
ENGAGEMENT CONCLUDE/REFLECT CONTINUATION (REPEAT)
TIME > > >
ROX
WAVELINE TEMPLATE
PROJECT:
TASK:
INTENSITY>>>
PLANNED
ACTUAL
PERSONA/ACTOR:
We need to think of this journey
in emotional, identity, and
meaning value, and not merely in
terms of functional and economic
value. A waveline is a technique that
comes form the narrative worlds
(music composition and
screenwriting). Think of it as a
journey map with all forms of value
listed.
The trick is that you first map
these forms of value BEFORE you

CCA LEADING BY DESIGN
FELLOWS PROGRAM
www.cca.edu/fellowsprogram
EXPERIENCE WORKBOOK
OBSERVATIONS AND
OPPORTUNITIES IN
EXPERIENCE DESIGN
15
THE 6 DIMENSIONS OF EXPERIENCE:
There are 6 dimensions of every experience, whether these are natural or
man-made adn whether these are business-oriented to not. This workbook
will help you explore and analyze the experiences around you and aide
you in developing better experiences for customers.
SIGNIFICANCE
Meaning
Status/Identity
Emotions/Lifestyle
Price/Value
Function
DURATION (TIME)
Initiation
Immersion
Conclusion
Continuation
TRIGGERS
Sight
Sound
Smell
Taste
Touch
Concepts
Symbols
BREADTH
Prodcut
Service
Brand
Name
Channel/Environment
Promotion
Price
INTENSITY
Reflex
Habit
Engagement
INTERACTION
Static
Passive
Active
Interactive
For each of the dimensions above, observe your customers/users/audience
when and where they experience needs and current solutions.
EXPERIENCE OBSERVATION
INTENSITY
Is the experience...
REFLEX? HABIT? ENGAGEMENT?
If so, there is likely no design
opportunity.
If so, can this experience be
turned into an engagement
experience?
This is where the vast number
of opportunities lie.
DURATION (TIME)
Is the experience...
REFLEX? HABIT? ENGAGEMENT?
If so, there is likely no design
opportunity.
If so, can this experience be
turned into an engagement
experience?
This is where the vast number
of opportunities lie.
1 14
BUSINESS MODEL:
With these new elements of experience, are their threats to your gurrent
business model?
Are there new opportunities?

EXPERIENCE
DURATION
Initiation
Immersion
Conclusion
Continuation
TRIGGERS
Sight
Sound
Smell
Taste
Touch
Concepts/Names
Symbols
Price
VALUE
Meaningful
Status/Identity
Emotional/Lifestyle
Economic
Functional
INTENSITY
Reﬂex
Habit
Engagement
INTERACTION
Passive
Active
Interactive
BREADTH
(CHANNEL/TOUCHPOINTS)
Product
Service
Event
Environment (Space)
These are the major dimensions of
design. All but one, “triggers” are
invisible. And, that’s the only one we
traditionally think of as “design.”
All of these are always available to
you when creating experiences
(products, services, events,
envirnments, etc.), whether you use
them of not.

EXPERIENCETRIGGERS
Sight
Sound
Smell
Taste
Touch
Concepts/Names
Symbols
Price
INTENSITY
Reflex
Habit
Engagement
INTERACTION
Passive
Active
Interactive
DURATION
Initiation
Immersion
Conclusion
Continuation
VALUE
Meaningful
Status/Identity
Emotional/Lifestyle
Economic
Functional
BREADTH
(CHANNEL/TOUCHPOINTS)
Product
Service
Event
Environment (Space)
But I will talk about this one because
it’s the other important one.
Significance defines the depth of the
relationship.

CORE MEANINGS
VALUES/IDENTITY
EMOTIONS
PRICE
FEATURES (PERF.)
Which means it deﬁnes the levels of
value that emerge in the
relationship.

CORE MEANINGS
VALUES/IDENTITY
EMOTIONS
PRICE
FEATURES (PERF.)
VALUE:
AND, it aligns with what we know
about the ﬁve kinds of “total value.”
Without realizing it, people ask
themselves a series of questions
with they evaluate choices: Does
this do what I need? Does it have
the right features? Does it perform
well? These are easy questions that
we’re very aware of and they’re

CORE MEANINGS
VALUES/IDENTITY
EMOTIONS
PRICE
FEATURES (PERF.)
Does this do what I need...?
VALUE:
Without realizing it, people
ask themselves a series of
questions with they
evaluate choices: Does
this do what I need? Does
it have the right features?
Does it perform well?

CORE MEANINGS
VALUES/IDENTITY
EMOTIONS
PRICE
FEATURES (PERF.)
...at a price that’s worth it?
VALUE:
But, as we move deeper,
our questions change:
What price am I willing to
pay for these functions?
Features and Price are
actually low-value, short-

CORE MEANINGS
VALUES/IDENTITY
EMOTIONS
PRICE
FEATURES (PERF.)
How does this make me feel?
VALUE:
Even deeper, our
questions become more
intimate and abstract:
Does this make me feel
good? Or bad? or
younger? Or more
successful? But, as

CORE MEANINGS
VALUES/IDENTITY
EMOTIONS
PRICE
FEATURES (PERF.)
Is this me?
VALUE:
Deeper still, things get
even more personal until
the questions focus on our
identities, whether we
realize it or not. Are you a
Coke person or Pepsi
person? Mac or Windows?

CORE MEANINGS
VALUES/IDENTITY
EMOTIONS
PRICE
FEATURES (PERF.)
Does this ﬁt into my world?
VALUE:
Then we reach the deepest point of
connection between people (or
between products, brands,
organizations, movements, and
people). You get to these through
qualitative research techniques
and they drive the deepest
relationships.
Meaning is a complex phenomenon

Accomplishment
Beauty
Creation
Community
Duty
Enlightenment
Freedom
Harmony
Justice
Oneness
Redemption
Security
Truth
Validation
Wonder
15 CORE MEANINGS:
Deﬁnitions: makingmeaning.org
If you want to design for meaningful
experiences (the highest-value
relationships), we use a pallet of
priorities about the world and how
we understand and engage it.
Meaning is something we all create,
react to, and understand (though
we don’t always acknowledge it).
These 15 core meanings are

Corporate
Meaning Priorities
Team
Meaning
Priorities
Customer
Meaning
Priorities
Competitors’
Meaning Priorities
Strategic Focus
Focus on what relationships and
experience strategy does.
Align the organization (it’s goals,
vision, and operations) with what
customers want, need, and value
the most and what the org can
deliver well.

Corporate
Decision Drivers
Team
Decision
Drivers
Customer
Decision
Drivers
Competitors’
Decision Drivers
Strategic Focus
Community
Wonder
Security
Accomplishment
Security
Wonder
Security
Community
Accomplishment
These describe the real drivers of
decisions and value for customers
and this allows us to align our
strategy around these very, most
valuable opportunities. This comes
from experiential (qualitative)
research. It can drive the rest of the
quantitative decisions, strategically, to
better our chances of delivering the
most and highest-value value.

Instagram
$1.05B
~$50M
This value!
If we can do this, we can help our
peers create the very kind of strategy
that creates the best kind of value
(and makes us important).

Are you willing to focus on
relationships, brave the business-
speak, an use your design powers to
create meaningful things?
WE need to do this, because there
currently aren’t anyone else who can.

THANK YOU
nathan@nathan.com
designmba.org
MAKE IT SO
Interaction Design Lessons from Science Fiction
by NATHAN SHEDROFF & CHRISTOPHER NOESSEL
foreword by Bruce Sterling
Many designers enjoy the interfaces seen in science fiction films
and television shows. Freed from the rigorous constraints of designing
for real users, sci-fi production designers develop blue-sky interfaces
that are inspiring, humorous, and even instructive. By carefully studying
these “outsider” user interfaces, designers can derive lessons that make
their real-world designs more cutting edge and successful.
“Designers who love science fiction will go bananas over Shedroff and Noessel’s delightful and
informative book on how interaction design in sci-fi movies informs interaction design in the real
world.... You will find it as useful as any design textbook, but a whole lot more fun.”
ALAN COOPER
“Father of Visual Basic” and author of The Inmates Are Running the Asylum
“Part futurist treatise, part design manual, and part cultural analysis, Make It So is a fascinating
investigation of an often-overlooked topic: how sci-fi influences the development of tomorrow’s
machine interfaces.”
ANNALEE NEWITZ
Editor, io9 blog
“Shedroff and Noessel have created one of the most thorough and insightful studies ever made
of this domain.”
MARK COLERAN
Visual designer of interfaces for movies (credits include The Bourne Identity, The Island, and Lara Croft: Tomb Raider)
“Every geek’s wet dream: a science fiction and interface design book rolled into one.”
MARIA GIUDICE
CEO and Founder, Hot Studio
www.rosenfeldmedia.com
MORE ON MAKE IT SO
www.rosenfeldmedia.com/books/science-fiction-interface/
MAKEITSObyNATHANSHEDROFF&CHRISTOPHERNOESSEL
Experience Design 1.1
a manifesto for the design of experiences
by Nathan Shedroff
user behavior 116
100 years 22
information 42
takeaways 28
data 36
knowledge 48
subjectivity 78
consistency 96
navigation 84
Design Strategy in Action
Edited by Nathan Shedroff
A publication from the MBA in Design Strategy program
2011

QUESTIONS?
nathan@nathan.com
designmba.org

What is Means to be Strategic and Create Value (UX Strat Summit, SF 2014)

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