Holtzblatt PDF

Series
Series
Series
ISSN:
ISSN:
ISSN:
1946-7680
1946-7680
1946-7680
HOLTZBLATT
HOLTZBLATT BEYER
HOLTZBLATT
SSSyntheSiS
yntheSiSL
yntheSiS LLectureS
ectureS
ectureSon
on
on MOR
MOR
MORGG N&
GAAAN
N &
&CL
CL
CLAY
AY
AYPOOL
POOL
POOL PU
PU
PUBLI
BLI
BLISSSH
HHERS
ERS
ERS
hhhuman
uman-c
uman -c
-centered
enterediiinformaticS
entered nformaticS
nformaticS
BEYER
Series
Series
SeriesEditor:
Editor:
Editor:John
John
JohnM.
M.
M.Carroll,
Carroll,
Carroll,Penn
Penn
PennState
State
StateUniversity
University
University
BEYER
Contextual
Contextual
ContextualDesign
Design
Design Contextual
ContextualDesign
Design
Evolved
Evolved
Evolved
Karen
Karen
KarenHoltzblatt
Holtzblatt
Holtzblattand
and
andHugh
Hugh
HughBeyer,
Beyer,
Beyer,InContext
InContext
InContextEnterprises,
Enterprises,
Enterprises,Inc.
Inc.
Inc.
Evolved
Evolved
Evolved
Contextual
Contextual
ContextualDesign
Design
Designisisisaaauser-centered
user-centered
user-centereddesign
design
designprocess
process
processthat
that
thatuses
uses
usesin-depth
in-depth
in-depthfield
field
fieldresearch
research
researchto
totodrive
drive
drivein-
in-
in-
novative
novative
novativedesign.
design.
design.Contextual
Contextual
ContextualDesign
Design
Designwas
was
wasfirst
first
firstinvented
invented
inventedininin1988
1988
1988and
and
andhas
has
hassince
since
sincebeen
been
beenused
used
usedinininaaawide
wide
wide
variety
variety
varietyofofofindustries
industries
industriesand
and
andtaught
taught
taughtinininuniversities
universities
universitiesall
all
allover
over
overthe
the
theworld.
world.
world.ItItItisisisaaacomplete
complete
completefront-end
front-end
front-enddesign
design
design
process
process
processrooted
rooted
rootedinininContextual
Contextual
ContextualInquiry,
Inquiry,
Inquiry,the
the
thewidespread,
widespread,
widespread,industry-standard
industry-standard
industry-standardfield
field
fielddata
data
datagathering
gathering
gatheringtech-
tech-
tech-
CONTEXTUAL
CONTEXTUAL DESIGN
CONTEXTUAL
nique.
nique.
nique.
Contextual
Contextual
ContextualDesign
Design
Designadds
adds
addstechniques
techniques
techniquesto
totoanalyze
analyze
analyzeand
and
andpresent
present
presentuser
user
userdata,
data,
data,
drive
drive
driveideation
ideation
ideationfrom
from
fromdata,
data,
data,
design
design
designspecific
specific
specificproduct
product
productsolutions,
solutions,
solutions,and
and
anditerate
iterate
iteratethose
those
thosesolutions
solutions
solutionswith
with
withcustomers.
customers.
customers.
In
In
In2013,
2013,
2013,we
we
weoverhauled
overhauled
overhauledthe
the
themethod
method
methodto
totoaccount
account
accountfor
for
forthe
the
theway
way
waythat
that
thattechnology
technology
technologyhas
has
hasradically
radically
radicallychanged
changed
changed
peoples
peoples
peopleslives
lives
livessince
since
sincethe
the
theinvention
invention
inventionofofofthe
the
thetouchscreen
touchscreen
touchscreenphones
phones
phonesand
and
andother
other
otheralways-on,
always-on,
always-on,always-connected,
always-connected,
always-connected,
DESIGN
DESIGN
and
and
andalways-carried
always-carried
always-carrieddevices.
devices.
devices.This
This
Thisbook
book
bookdescribes
describes
describesthe
the
thenew
new
newContextual
Contextual
ContextualDesign,
Design,
Design,evolved
evolved
evolvedto
totohelp
help
helpteams
teams
teams
design
design
designfor
for
forthe
the
theway
way
waytechnology
technology
technologynow
now
nowfits
fits
fitsinto
into
intopeoples
peoples
peoples
lives.
lives.
lives.We
We
Webriefly
briefly
brieflydescribe
describe
describethe
the
thesteps
steps
stepsofofofthe
the
thelatest
latest
latest
version
version
versionofofofContextual
Contextual
ContextualDesign
Design
Designand
and
andshow
show
showhow
how
howthey
they
theycreate
create
createaaacontinual
continual
continualimmersion
immersion
immersioninininthe
the
theworld
world
worldofofofthe
the
the
user
user
userfor
for
forthe
the
thepurpose
purpose
purposeofofofinnovative
innovative
innovativeproduct
product
productdesign.
design.
design.
Karen
Karen
KarenHoltzblatt
Holtzblatt
Holtzblatt
Hugh
Hugh
HughBeyer
Beyer
Beyer
ABOUT
ABOUT
ABOUTSYNTHESIS
SYNTHESIS
SYNTHESIS
This
This
Thisvolume
volume
volumeisisisaaaprinted
printed
printedversion
version
versionofofofaaawork
work
workthat
that
thatappears
appears
appearsinininthe
the
theSynthesis
Synthesis
Synthesis
MOR G
MOR
MOR GA
Digital
Digital
DigitalLibrary
Library
LibraryofofofEngineering
Engineering
Engineeringand and
andComputer
Computer
ComputerScience.
Science.
Science.Synthesis
Synthesis
SynthesisLectures
Lectures
Lectures
provide
provide
provideconcise,
concise,
concise,original
original
originalpresentations
presentations
presentationsofofofimportant
important
importantresearch
research
researchand
and
anddevelopment
development
development
topics,
topics,
topics,published
published
publishedquickly,
quickly,
quickly,
ininindigital
digital
digitaland
and
andprint
print
printformats.
formats.
formats. For
For
Formore
more
moreinformation
information
information
G AN
AN
visit
visit
visitwww.morganclaypool.com
www.morganclaypool.com
N&
SSSyntheSiS
yntheSiSL
yntheSiS LLectureS
ectureS
ectureSon
on
on
& CL
& CL AY
CL AYPOOL
&
&&CLAYPOOL hhhuman
uman-c
-c
-centered
enterediiinformaticS
ISBN:
ISBN:
ISBN:978-1-62705-558-1
978-1-62705-558-1
978-1-62705-558-1
MORGAN
MORGAN
MORGAN CLAYPOOL
CLAYPOOLPUBLISHERS
PUBLISHERS
PUBLISHERS uman entered nformaticS
nformaticS
AYPOOL
90000
90000
90000
POOL
wwwwwwwww
. .m
.mmooorrgrggaananncclclalayaypyppoooool l.l.c.cocoommm
999781627
781627
781627
055581
055581
055581
John
John
JohnM.
M.
M.Carroll,
Carroll,
Carroll,Series
Series
SeriesEditor
Editor
Editor
Contextual Design
Evolved
iii
Synthesis Lectures on
Human-Centered Informatics
Editor
John M. Carroll, Penn State University
Human-Centered Informatics (HCI) is the intersection of the cultural, the social,

the cognitive, and the aesthetic with computing and information technology. It
encompasses a huge range of issues, theories, technologies, designs, tools, environ-
ments and human experiences in knowledge work, recreation and leisure activity,
teaching and learning, and the potpourri of everyday life. The series will publish
state-of-the-art syntheses, case studies, and tutorials in key areas. It will share the
focus of leading international conferences in HCI.
Contextual Design: Evolved

Karen Holtzblatt and Hugh Beyer
October 2014
Spaces of Interaction, Places for Experience

David Benyon
September 2014
Mobile Interactions in Context: A Designerly Way Toward Digital

Ecology
Jesper Kjeldskov
July 2014
Working Together Apart: Collaboration over the Internet

Judith S. Olson, Gary M. Olson
November 2013
iv
Surface Computing and Collaborative Analysis Work

Judith Brown, Jeff Wilson , Stevenson Gossage , Chris Hack , Robert Biddle
August 2013
How We Cope with Digital Technology

Phil Turner
July 2013
Translating Euclid: Designing a Human-Centered Mathematics

Gerry Stahl
April 2013
Adaptive Interaction: A Utility Maximization Approach to Understand-

ing Human Interaction with Technology
Stephen J. Payne, Andrew Howes
March 2013
Making Claims: Knowledge Design, Capture, and Sharing in HCI

D. Scott McCrickard
June 2012
HCI Theory: Classical, Modern, and Contemporary

Yvonne Rogers
May 2012
Activity Theory in HCI: Fundamentals and Reflections

Victor Kaptelinin, Bonnie Nardi
April 2012
Conceptual Models: Core to Good Design

Jeff Johnson, Austin Henderson
November 2011
v
Geographical Design: Spatial Cognition and Geographical Information

Science
Stephen C. Hirtle
March 2011
User-Centered Agile Methods

Hugh Beyer
2010
Experience-Centered Design: Designers, Users, and Communities in

Dialogue
Peter Wright, John McCarthy
2010
Experience Design: Technology for All the Right Reasons

Marc Hassenzahl
2010
Designing and Evaluating Usable Technology in Industrial Research:

Three Case Studies
Clare-Marie Karat, John Karat
2010
Interacting with Information

Ann Blandford, Simon Attfield
2010
Designing for User Engagement: Aesthetic and Attractive User Inter-

faces
Alistair Sutcliffe
2009
vi
Context-Aware Mobile Computing: Affordances of Space, Social

Awareness, and Social Influence
Geri Gay
2009
Studies of Work and the Workplace in HCI: Concepts and Techniques

Graham Button, Wes Sharrock
2009
Semiotic Engineering Methods for Scientific Research in HCI

Clarisse Sieckenius de Souza, Carla Faria Leito
2009
Common Ground in Electronically Mediated Conversation

Andrew Monk
2008
viii
Copyright 2015 by Morgan & Claypool
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or
transmitted in any form or by any meanselectronic, mechanical, photocopy, recording, or any
other except for brief quotations in printed reviews, without the prior permission of the publisher.
Contextual Design: Evolved

ISBN: 9781627055581 print

ISBN: 9781627055598 ebook
DOI 10.2200/S00597ED1V01Y201409HCI024
A Publication in the Morgan & Claypool Publishers series

SYNTHESIS LECTURES ON HUMAN-CENTERED INFORMATICS #24
Series Editor: John M. Carroll, Penn State University
Series ISSN 1946-7680 Print 1946-7699 Electronic

ix
Contextual Design
Evolved

InContext Enterprises, Inc.
SYNTHESIS LECTURES ON HUMAN-CENTERED

INFORMATICS #24
M
&C MORGAN & CLAYPOOL PUBLISHERS
x
ABSTRACT
Contextual Design is a user-centered design process that uses in-depth field re-
search to drive innovative design. Contextual Design was first invented in 1988
and has since been used in a wide variety of industries and taught in universities
all over the world. It is a complete front-end design process rooted in Contextual
Inquiry, the widespread, industry-standard field data gathering technique. Contex-
tual Design adds techniques to analyze and present user data, drive ideation from
data, design specific product solutions, and iterate those solutions with customers.
In 2013, we overhauled the method to account for the way that technology
has radically changed peoples lives since the invention of the touchscreen phones
and other always-on, always-connected, and always-carried devices. This book
describes the new Contextual Design, evolved to help teams design for the way
technology now fits into peoples lives. We briefly describe the steps of the latest
version of Contextual Design and show how they create a continual immersion in
the world of the user for the purpose of innovative product design.
KEYWORDS
contextual design, CD, HCI, contextual inquiry, field research
xi
Contents
1 Introduction 1
2 Design for Life 5
3 Field Research: Data Collection and Interpretation 11

3.1 Contextual Inquiry 11
3.1.1 Running an Interview 13
3.2 Interpretation Sessions 18
4 Consolidation and Ideation: The Bridge to Design 21

4.1 Data Consolidation23
4.1.1 The Affinity Diagram 24
4.2 Contextual Design Models 28
4.3 Ideation 41
4.3.1 The Visioning Workshop 42
4.3.2 The Cool Drilldown 49
5 Detailed Design and Validation 53

5.1 Interaction Design Patterns58
5.2 Storyboarding 61
5.3 The User Environment Design 64
5.4 Testing and Iteration67
6 Conclusion 73
References 75
Author Biographies 77

1
CHAPTER1
Introduction
Contextual Design is a user-centered design process that uses in-depth field re-
search to drive innovative design. Contextual Design was first invented in 1988
and has since been used in a wide variety of industries and taught in universities
all over the world. It is a complete front-end design process rooted in Contextual
Inquiry, the widespread, industry-standard field data gathering technique. Contex-
tual Design adds techniques to analyze and present user data, drive ideation from
data, design specific product solutions, and iterate those solutions with customers.
In 2013, we overhauled the method to account for the way that tech-nology has
radically changed peoples lives since the invention of the touch-screen phones
and other always-on, always-connected, and always-carried devices. This book
describes the new Contextual Design, evolved to help teams design for the way
technology now fits into peoples lives.
Contextual Design is a step-by-step process for collecting field data and
using it to design any sort of technical product (as first described in Contextual
Design [1] and then Rapid Contextual Design [2]). It has been used to design
business systems, websites, mobile devices, mobile apps, medical devices, cloud-
based solutions, consumer electronics, automotive electronics, and more. There are
three phases to Contextual Design. First, the team immerses itself in the life of
individual users through field visits and interprets the data using models to show
a big picture of the whole market. Second, the team uses that big picture to drive
ideation, inventing new product concepts from the user data. Third, these product
concepts are designed with concrete user interfaces and behavior, which are tested
and iterated with users. Contextual Design can be used to refine or extend existing
products, design for new markets, or drive longer-term product roadmaps. It has
been used as part of many requirements and software develop-ment processes,
including Agile.
2 1. INTRODUCTION
Contextual Design is team-based. It is designed to take advantage of a

cross-functional team including such specialties as product management, mar-
keting, product architects, user experience designers (user research and user in-
terface), developers, and service designers, each providing their unique skills and
insights to help invent the right solution for users. It builds in ways of involving
stakeholders and other team members to assure buy-in from the business and
ensure the solution is one the company can successfully deliver. It can then feed
into the companys existing development practice. Development practices change
over time, but they all need clear design direction*and that is what Contextual
Design provides.
Contextual Design was developed and continues to be driven by the real-
ization that a product is always part of a larger practice, used in the context of
other tools and manual processes to make the users overall life and work. Product
design is really about the redesign of the users work and life, given technological
possibilitiesdesigning a new and better way for users to live their lives, achieve
their intents, touch the people that matter to them, and perform their activities by
introducing better tools and systems. This understanding has only become more
compelling as smartphones, tablets, and other devices continue to infiltrate our
lives.
Because life and technology are so closely knit, users must be understood in
their own context. Usability testing, focus groups, and questionnairesany data
gathering technique with fixed questions and predefined taskstakes the user out
of the context of his or her life. Without the rich context of the users real life,
these methods cannot reveal the most important design issues: the users motiva-
tions, values, emotions, strategies, work-arounds, real-time interruptions and in-
teractions with others, and the constraints imposed by real-world conditions. The
core of Contextual Design is to understand users in their own setting, using that
understanding to develop deep insight into their lives and applying that insight to
a design problem.
*
Even Agile! Agile Development merely assumes that direction is available from a customer
rolewhich is informed by Contextual Design.
INTRODUCTION 3
This rich data is necessary if the team is to have an accurate, trustworthy

basis for driving design thinking, but its only the first of many immersion activities
in Contextual Design. That deep, intuitive feeling for the users and their world
must be carried through the whole design process and realized in the final product.
Therefore, Contextual Design continually re-immerses the team in the data and
in the context of users lives, first in the interviews, then in interpretation sessions,
representing users lives in models, driving innovation from the data, designing to
respond to specific issues in the data, and finally, returning to users to iterate and
refine proposed solutions.
Continual immersion prevents what we call design from the Idesigning
solutions based on what I like or what seems reasonable to meessentially the
team designing for themselves. The designer is almost never a good surrogate for
the user. They know too much and love technology too much to design for the
general public. And they know too little about specific work domains to get the
details of a design right. Even a subject matter expert doesnt have the articulated
understanding, reflecting broad user experience, that the design team needs. What
parts of paying a familys bills are quick and can be done in spare moments on an
appand what parts require heads-down focused attention? What quick ques-
tions do medical practitioners need answered right awayand what questions
merit in-depth research? Designers cannot get the answers to questions like these
right by design from the I.
The immersion experiences built into Contextual Design make designers
get real and truly own the complexity of the lives of their users. That keeps
designers from the almost inevitable tendency to add features that might be use-
fula sure signal of over-design. And it ensures that when quick decisions must
be made, the designers intuitive understanding has been tuned through repeated
immersion to reflect the users perspective.
In the rest of this book we will briefly describe the steps of the latest version
of Contextual Design and show how they create a continual immersion in the
world of the user for the purpose of innovative product design.
5
CHAPTER2
Design for Life

Since the late 1980s, the basic idea that designers must understand the context of
task activities being supported has stood the test of time. Accordingly, Contextual
Design introduced a set of modelsdiagrams and pictures, each showing one
aspect of the users life context. These original Contextual Design models success-
fully focused the design effort on understanding the context of task activity. They
revealed the context of use to identify the structure of the users activities and the
key issues in a market.
These classic Contextual Design models are still relevant; we describe the
most important of them below. But since mobile touchscreen devices have become
ubiquitous and have fundamentally transformed peoples lives, new approaches are
needed. Google taught us that any question can be answered, in seconds, anywhere,
without arcane query languages. Facebook and Twitter taught us that we can reach
out and touch others any time we wish. The iPhone, Android, and tablets taught us
that access to our worldour friends, shops, books, news, and pictures, the things
weve created and the things we need for workis always just a touch away. Theres
no boot time anymorehardly any setup, login, or preparation. Theres just me and
my work, me and my lifeand increasingly, not much distinction between them.
Given this integration of technology with life, designing technology means
design for life: designing the details of how to technology works so it fits into all
the situations of everyday life. To design for life, we must understand the whole
of life as the context of use, which is very different from the context of use of
the trad-itional products Contextual Design was designed to create. The wall of
separation between home and work has broken downtorn down by people try-
ing to make their whole life work. Tickets to the theatre may be found at work
between completing sections of writing or reading or filling out a form. They may
be agreed on with text messages during a meeting, and bought later online while
6 2. DESIGN FOR LIFE
on hold during a phone call. A work task may be started over breakfast at home
on a tablet, continued at traffic lights during the commute on a touch phone, and
wrapped up in the office on a desktop machine. Today, the context of use for what
used to be a single, coherent task includes all these placesflowing across place,
time, and devices.
Successful design means going far beyond understanding the cognitive
load or steps of a taskbuzzwords from a previous generation of user-centered
design. Transformative products now help us get our life done and celebrate our
accomplishments, connect to the people who matter to us, express the core ele-
ments of our identities, and create moments of surprise and sensory delightall
in a product that just works, like magic, with no hassle or learning required. That
is a tall order, and means that designers must understand a much wider life context
than they ever had to before.
When the iPhone and then Android phones came out, we noticed that the
way they integrated into peoples lives radically changed from older technology.
The language people used was, This is so cool! We recognized that something
fundamental had changed in the way that people related to technology, and we
wanted to understand it. So we started our Cool Project in hopes of uncovering
the core of the cool user experience.
We went out in the field and talked with more than 60 consumers between
15 and 60 years old about what makes things cool for them. We asked people to
show us products with some technical component that they experienced as cool.
Then we talked with them about their experience, watched them use the products,
and discussed how they transformed their lives. We didnt try to define cool for
them. Instead, we let them define it by showing us the products they thought were
cool. Then we then turned to 30 enterprise workers to see if these same experiences
were relevant for workersand they were. The seven Cool Concepts emerged
from our analysis of this data.
Later, we partnered with SAP to develop a way to measure these concepts.
The Cool Metric is a set of 40 questions that have been validated with over 2000
people worldwide [3]. The metric can differentiate coolness between different
2. DESIGN FOR LIFE 7
kinds of consumer and business software and between devices. It can be used to
compare scores across competitors, or to focus an initial market study. It can be
used in between rounds of iteration to see how the team is doing as it develops
new product concepts and tests them with users. It works in the lab, in the field,
and with a large population survey. Together with the design principles measured
by the metric and associated with each Cool Concept we can help our clients move
the dial on their products coolness.
The Cool Project revealed that we must now design for core human motives
and the whole of the way an activity fits into life on the goor what we call the
unstoppable momentum of life. Therefore, we have had to evolve Contextual Design
itself with new data collection techniques, new models to represent the data, new
ideation techniques, and new design principles. That evolution is what we describe
in this book.
The Cool Concepts are broken into two components. The Wheel of Joy in Life
organizes the four Cool Concepts that define the way cool products touch our core
human motives.
Figure 2.1: The Wheel of Joy in Life describes how a product creates joy by enhancing
users lives.
The Cool Concepts we identified from this project are central to under-
standing what is needed to design for life, and central to designing a product users
will experience as cool. The four Cool Concepts of the Wheel of Joy show how
products enhance the joy of life, how they make our lives richer and more fulfilling:
Accomplishment: Empower users to achieve all the intents of their life,
work and personal, wherever they are in whatever amount of time they have, across
place, time, and platform. Support the unstoppable momentum of life by helping
users fill every moment of dead time with useful or amusing activities. Design with
the expectation that users will be distracted, splitting their attention across multi-
ple activities. Accomplishment in life is the main driver of the cool experience in
the Wheel of Joy in Life.
Connection: Increase the intimacy and collaboration of users real rela-
tionships. Help them make frequent contact, have something mutually valued
to talk about and share, and find things to do together as everyone pursues their
separate lives. Foster real connection in business relationships as well as personal
relationships. Communities of interestonline or in personwill produce real
relationships and a sense of connection if they support frequent contact, provide
conversational content, and promote shared activities.
Identity: Support users sense of core self and enable them to express that
sense of self in what they do and how they show up to others. Identify the core
identity elements associated with the activity being supported by a product and
deliver value that increases the users sense of being their best selves. If people are
taking on a new identity, help them create that identity through examples of what
others like them do and by checking with friends or trusted colleagues to deter-
mine if their behaviors, choices, and values are appropriate. Features that support
success in activities core to the persons identity increase the overall value of the
product.
Sensation: Provide the user with pleasurable moments of sensual delight
through color, sound, movement, and animation. Modern aesthetic design is
expected by users todayadd appropriate stimulation, graphics, and animation
to enhance interaction and create products that evoke a smile. But dont add gra-
tuitous or distracting graphics or animationthat just annoys users and reduces
2. DESIGN FOR LIFE 9
cool. Sensation augments the value of any product, but is the core product focus
for games, entertainment systems, music, and sensory-centered product genres.
Figure 2.2: The Triangle of Joy in Use describes the impact of using the product itself.
The three Cool Concepts of the Triangle of Joy in Use show how the de-
sign of the product itself can enhance (or detract from) the joy of use by creating
moments of magic or by eliminating the hassle people have come to expect from
technology:
Direct into Action: Provide immediate, simple fulfillment of core intents: I
think of what I want, I get the solutionwith no thought, no figuring, no decid-
ing. It just happens like magic. Think for megive me what I want without my
having to ask for it, just as Pandora did for music when it first came out. Produce
the desired result with little or no direction from me. Of the Cool Concepts in the
Triangle of Joy in Use, Direct into Action has the most impact on the user joy in
the use of the product. Direct into action calls for much more than good usability
and fewer clicks; it calls for true instant into action so that achieving an intent in
moments is possible.
The Hassle Factor: Remove all inconveniences, set-up, plugging in, logging
in, boxes, customization and technology hassles from the product. Create joy by
removing all the glitches and inconveniences that interrupt the flow of life. A
good enough user experience is no longer good enough. Users no longer tolerate
technical hassles and no longer value new function if it is not instant into action.
The Hassle Factor combines with Direct into Action in the Cool Metric to create
one powerful design focus for creating joy in product use.
The Learning Delta: Reduce the time it takes to learn the tool as close as
possible to zero by building on known interaction paradigms and natural inter-
actions like touch and voice. Nudge the user into use with tiny hints. Reduce
complexity; reduce the number of things the user has to know and places the user
has to go to use the product. Avoid designing in actions and options that increase
complexity. Make product use so direct that theres nothing to learn.
This is the age of the ascendency of UX. Good UX and UI design are no
longer just nice to havethey can determine whether your product is cool or not,
valued or not, bought or not. Even a product that is cool in concept can become
uncool if its use is not Direct into Action.
This is as true of business products as it is of commercial products. The
term the consumerization of business products describes how users expectations,
driven by consumer products, are now affecting their approach to business prod-
ucts. Business products also must be designed for life: fit into the places and times
life is lived, support connection to people that matter, enable users professional
identity, and provide appropriate sensory fun.
The insights from the Cool Project require changes to Contextual Design
itself. A design team needs to recognize and collect new types of user data on core
human motives and behaviors, on wider dimensions of life, and on how the whole
of the users integrated life fits together. So we extended Contextual Design to col-
lect wider data about the whole of life experience, and have added new models to
represent this wider view. We also added design principles and ideation activities,
all to ensure that the design thinking of the team is focused on the right dimen-
sions of a product to ensure success. Lets now look at Contextual Design evolved.
11
CHAPTER3
Field Research:
Data Collection and Interpretation
The first phase of Contextual Design guides a team through gathering field data
and interpreting it as a team. By capturing issues and modeling each individual
users experience the team records the data that will later be consolidated to build
a coherent view of the practices and experiences of the whole user population. This
phase is about getting the best design data while involving and immersing the
team in the lives of their users.
3.1 CONTEXTUAL INQUIRY

Gathering requirements for a product is not simply a matter of asking users what
they need, like gathering pebbles from a beach. One cannot simply ask for design
requirements, in part because people dont know what technology is capable of,
but more because most people are not aware of what they really do. The everyday
things people do become habitual and unconscious, so they are usually unable to
articulate their practices. People can say what they do in general terms and can
identify critical problems; they can say what makes them angry with the tools they
use. But they usually cannot provide day-to-day details about what they do. They
cannot describe inner motivations such as the need to express a particular identity
or to feel connected with people they care about. They are likely to forget about the
workarounds they had to invent to overcome problems in their current products.
This low-level detail of everyday practice is critical to design for life.
Contextual Inquiry, the field data gathering technique of Contextual De-
sign, reveals these unconscious and tacit aspects of life. It guides designers in going
out into the field and talking with people about their work and life while observing
them. If designers watch people while they engage in their activities, then people
do not have to articulate their practices. If they do blow-by-blow retrospective ac-
12 3. FIELD RESEARCH: DATA COLLECTION AND INTERPRETATION
counts of things that happened in the recent past, people can stick with the details
of specific cases using artifacts and reenactments to remind them of what hap-
pened. Contextual Inquiry immerses designers in the users whole lifeincluding
those aspects which the user doesnt know how to articulate.
Figure 3.1: Contextual interviews in different life contexts: work, home, and car. Inter-
views are conducted wherever the activities of interest take place.
3.1 CONTEXTUAL INQUIRY 13
3.1.1 RUNNING AN INTERVIEW
Any Contextual Design project starts with a project focus. When in the field with
the user, designers need to know what to pay attention toof all the overwhelm-
ing detail available, what matters for the design problem at hand? Before starting
a project, the team defines the problem to be solved, the users who are affected, the
users activities and tasks that matter, and the situations and locations that are rel-
evant. This project focus extends and refines the core focus on work and life prac-
tice given by Contextual Design and the Cool Concepts. It guides how the user
interviews are set up and what the designers pay attention to during the interview.
In a Contextual Design project, a cross-functional team carries out the work.
Team members conduct field interviews with users wherever they live and work,
focusing on the aspects of the practice that matter for the project scope. The typical
Contextual Interview lasts 12 hours and is based on four principles that guide
how to run the interview:
Context: While people do their life and work activities, observe and discuss
what they are doing and why. Use artifactsthe things they create or work with
to ground the interview in actual instances. Use retrospective accountsdetailed
re-telling of specific events in the recent pastto learn about important events
that happened outside the interview window. Pay attention to the larger context
of life, relationship, and self into which any task fits.
Partnership: Collaborate with users to understand their motivations and
strategies; let them lead the interview by doing their own activities and comment-
ing on them. Share the power to direct the interviewthe interviewer follows the
users lead and asks about what they are observing. Do not come with planned
questions. Instead, use the project focus to guide the conversation towards the
most important aspects of their lives.
Interpretation: Determine the meaning of the users words, emotions, and
actions together with the user by sharing your interpretations and letting the user
respondtuning and correcting your understanding along the way. Co-interpret
to produce an understanding of how users do the targeted activities, but also how
they contribute to their overall life. When immersed in the context of their real
life, people will remember what matters. They will not let you mis-construe their
motivations.
Focus: Steer the conversation to meaningful topics by paying attention
to what falls within project scope and ignoring things that are outside of it. Use
insights into life from the Cool Concepts and the Contextual Design models to
focus yourself on relevant detail. Let users know the focus so they can steer, too.
A Contextual Interview starts like a conventional interview, with intro-duc-
tions and an overview of the users situation. At this point we also probe to dis-
cover elements of identity important to the user to raise them to awareness and
discussion throughout the interview. We then transition to ongoing observation
and discussion with the user about that part of the practice that is relevant to
the design focus. We watch the users actions, verbal clues, and body language.
We listen for the role of relationships in this activity, collaborations, hassles, and
aspects of tools that evoke or reduce joy. We share our insights, understandings,
and confusions with users in the moment, inviting the user into a conversation
about what is happening, why, and what that implies for any supporting product.
As much as possible we keep the user grounded in current activity, but also use
artifacts to trigger memories of recent activities. If an interesting event happened
in the recent past, we re-tell the story of that event, re-enacting it if possible and
using artifacts to help recall details.
Throughout the interview, the Cool Concepts augment the focus of the
interview. Each Concept suggests aspects of life that may matter for design. In ad-
dition to this general focus, the interviewer guides the user through some directed
tasks to reveal key information related to the concepts:
Accomplishment: The interviewer listens for how tasks are split across
time, place, and device. If a task is done at the office, is any part of it ever done
elsewhere? Research for it done at home? Coordination done with calls from the
car? Do users interrupt themselves at points in the task to get a mental break? De-
signers can no longer assume that a task is done in one sit-down, focused session.
To see how life and work interleave throughout the day, at some point in the
interview the interviewer and user walk through one or more of the users specific
past days, discussing what happened at each point in the day and how the users
technology enabled (or inhibited) doing the tasks of work and life. Interviewers
pay special attention to how activities are broken up into chunks of time and get
done across platforms and with mobile devices, when the users attention is split
between activities, and the content they access at each point.
Connection: The interviewer always listens for how other people play a
part in the users life and the level of emotional connection the user has with that
person. If work or life activities involve collaboration with others the interviewer
listens for how that collaboration takes place. In addition, once the interviewer has
heard enough to know some of the people important to the target activities, they
chart out those relationships with the user (see Figure 3.2). The user talks about
how close they feel each person is and what their role is in the activity, and adds
additional people as prompted by the discussion. In the remainder of the inter-
view, more people may be added as they come up. The interviewer may also draw
small collaboration models (see Figure 3.3) to make the collaboration around a
task plain.
Identity: In the introduction, the interviewer probes to understand the users
sense of self relative to the project focus. Throughout the interview, the user may
reveal behaviors, values, or accomplishments that they attach pride to or that are
important to their sense of self. When this happens, the interviewer raises them
up for discussion. Together, they develop a shared understanding of how those
experiences reveal an identity element and try to name it. The focus is on finding
the sources of pride and self-image relevant to the target activity.
Sensation: The interviewer looks for sensation elements throughout the in-
terview. This usually shows up as an emotional response from the usera spark of
delight or fun or a pause to enjoy an interaction. We even observe users stroking
their devices as an expression of their attachment to it. The interviewer talks about
what they saw as an emotional response to an element of sensation and lets the
user respond.
Figure 3.2: Relationship information captured during an interview. U04 is the user
code assigned to the interviewee. Higher layers, farther from the user, show more emo-
tional distance. The interviewer and user worked together to decide where the various
people in the users life should go to illustrate closeness.
The Triangle: Identifying issues raised by the Triangle of Joy in Use requires
continual attention throughout the interview. The interviewer watches tool inter-
action closely to identify issues of Direct into Action and Hassle, and pauses to
discuss their impact on the activity and tool experience. They may suggest design
ideas to help verify their understanding: What if the product just gave you that
result without your having to ask? It is relatively easy to see problems and is-
suesthe interviewer may have to look carefully to see what is already working.
Capturing what is already direct is important because it allows designer to know
what not to changeand how to fix hassles in a way that further supports good
aspects of current practice. In the same way, interviewers look for learning issues
and complexity and probe them when they find them.
Figure 3.3: Communication model fragment captured during an interview. Such

mini-diagrams help clarify the conversation.
Even when designing a business product, it may be useful to discuss the

users interactions with their cool consumer tools. This allows designers to compare
business product experience with consumer experience explicitly. The perspective
gained in this way provides hints of what a design team might borrow from con-
sumer products that are already valued by their target population.
The fundamental intent of a Contextual Interview is to get design data: low-
level, detailed data about the structure of the practice and the use of technology
within that practice. Contextual Inquiry, which is based on observing people in the
context of their life and work while they do their normal activities, has become
standard in the industry as the best way to get this necessary detailed design data.
But to design for life we must also understand how the target activity fits into the
whole of the persons life and motivations. This has necessitated changes in the
structure of the field interview itself, as described above. The result is an interview
process that immerses design team members in the details of the tasks users do
and also the larger context of emotions, motivations, and fit to life. It immerses the
interviewer in the fullness of the users life so he can embody the users perspective
and represent it to the team.
3.2 INTERPRETATION SESSIONS

The Contextual Interview is the first immersion experience of Contextual Design.
They immerse a single design team member in the world of the user. The next
challenge is to capture that data for use in such a way that it gets incorporated into
the mindset of the team. Capturing the data is not the major problem for product
teamshaving a shared understanding of the world of the user is.
Interpretation sessions are another immersive experience, providing a con-
text for the team to understand the data from a user interview in depth. An inter-
pretation session is a group meeting consisting of the interviewer plus 25 team
members. Each participant contributes insight from their own unique perspective,
leading to a richer understanding of the user than one person alone would have
been able to provide. As team members run interviews and participate in inter-
pretation sessions, a shared understanding of the users and the important design
issues evolves naturally.
Figure 3.4: Interpretation session notes are captured in a document. Each note captures
one key point from the interview and is self-containedit can be understood without
reference to the notes on either side.
In an interpretation session, the interviewer tells the story of the interview,

using handwritten notes and memory. The interpretation session is conducted
within 48 hours of the interview so that the interviewers memory is still rea-
3.2 INTERPRETATION SESSIONS 19
sonably detailed. Team members ask questions about the interview, drawing out
details that the interviewer might have overlooked and indicate what is important
to capture. One person acts as recorder, typing notes in a document. Other partici-
pants capture Contextual Design models, representing the life and work context of
the user. When the discussion sparks design ideas, they are captured in the notes.
The notes are displayed so that everyone can see them. They capture key
practice issues, identity and cultural observations, tool and activity successes and
breakdowns, task patterns, the use of time, place and different devices, design
ideas, and any other issues that have relevance to the project. Later these notes are
transferred to sticky notes and used to build the Affinity Diagram.
Simultaneously, other team members capture the structure of the users ac-
tivities at work and for life on the Contextual Design models, adding to the model
as they hear relevant elements revealed by the interviewer. Each model is a simple
representation of one aspect of the users practice.
The Day in the Life model shows the different places in the users life, the
activities undertaken in that place, the devices which support the activities, and
the content accessed there.
The Relationship model shows the important relationships in the users life
as it relates to the target activityits a cleaned up version of the model captured
in the interview.
The Collaboration model shows each collaboration event discovered during
the interview, including who interacted with whom to achieve what and what was
shared, done or discussed.
The Identity model shows the different observations of sources of pride,
self-esteem, and value that emerged during the interview. As the team sees these
observations cluster they may start to come up with names for coherent identity
elements that are relevant to the project focus.
The Sequence model lists the detailed steps the user took to accomplish a task.
Multiple sequence models may be captured.
The exact models to capture vary based on project focus. The above models
are generally useful, but if the project seeks to support decision making, the team
may capture a Decision Point model * to show the factors working for and against a
particular decision. And if a particular physical environment is especially import-
ant (such as the interior of a car when analyzing automotive information systems)
the team may do a rough sketch of the environment in a Physical model.
Capturing these models in the interpretation session make it possible for the
team to describe and analyze aspects of the user work practice in a concrete, shared,
tangible way. They also automatically teach the design team how to see more when
in the field, and this expanded focus helps them avoid overwhelm or focusing only
on problems during the field interview.
Because technology has made participating remotely so easy, interpretation
sessions may be distributed. Remote participation is a way to involve interested
parties who are not local so that they can touch the detailed user experience as it
is collectedanother immersion opportunity.
Every designer in the room has a job to do, so each has to process the data
and think about its implications. This combination of listening, inquiring, think-
ing, and drawing or writing the implications creates the immersion in the data that
results in real understanding and insight. By the end of the interpretation session,
all participants own the data and have incorporated it into their view of the user
and the project.
*
The Decision Point model is a variant of Contextual Designs original Cultural model. We find
this useful for products looking at buying or choosing as a primary focus. The Artifact model
may still be useful, but as paper artifacts were transformed and put online over the years we find
that use of this model became rare.
21
CHAPTER4
Consolidation and Ideation:

The Bridge to Design
In the first part of Contextual Design, teams collect in-depth field data about all
relevant parts of their customers lives. But the purpose of collecting data is to use
it in making design decisions and inventing products. Helping a diverse design
team take the data produced by researchers and use it for design remains one of
the biggest challenges of our industry.
At this writing, Contextual Inquiry has been taught in school for well over
a decade; UX groups are now a standard part of technology companies. But the
creation of UX groups tasked with research means that all the insight and deep
knowledge about users tends to be locked in that group. Transferring not just
knowledge but insight, understanding, and a feel for the users world is the first
step in creating a bridge between data and design. One of the greatest challenges
for UX professionals is how to drive data into the ideation process; how to ensure
that the lives of the users actually impact design thinking in the large.
Lives are complex and detailed, so sharing the findings of a field study
can be challenging. Taking all that data in can overwhelm team members and
stake-holders alike. Management often tries to simplify the problem by asking for
the top 10 problems or features, which makes the data easier to deal with but also
limits the impactthe only way to make real change is by rethinking the problem.
If rich customer data wont be used because its too overwhelming to deal with it,
why gather it at all? And in fact, some companies do abandon that goal, and with
it the possibility of a more transformative product.
But even a smaller, more targeted project scope benefits from rich data. A
usability release which tries to fix all the hassle in a product requires a more com-
prehensive approach to understanding the customers world, because hassle comes
from a bad fit between the product and the users lives. Design for the next release
22 4. CONSOLIDATION AND IDEATION: THE BRIDGE TO DESIGN
of an existing product is still best served by understanding the activities and lives of
the target customers holistically so that the next release can make the most impact.
Effective design depends on the UX professionals ability to communicate
the customer data and insights in a way that is consumable and relevant for the
people in the design process. Communication design, the intentional creation of
artifacts that communicate the data, is a necessary design step and an important
skill for all UX professionals [4]. Communication design is built into this part of
Contextual Design, the bridge from data to design action. Communication design
has its own set of principles that make it work; well illustrate them below.
The graphical models of Contextual Design are designed to help people in-
ternalize the world of their users. Design teams have always been able to walk the
Affinity Diagram and use Sequence models to drive design. But some of the other
models in Contextual Design, like the Flow model, are more difficult to build and
use. So when we set out to design new models like the Day-in-the-Life Model,
which represents how devices, place, and time are used in life, we took a step back
to re-think how we present this complex data so that it can be consumed by teams
easily. The new Contextual Design models described below have been created and
iterated to ensure that they work well as a bridge to design.
Along with the models, we use a facilitated workshop to guide the team
through using the data for generating new product concepts. These workshops
create another immersion experience for the team. Interviews and interpretation
sessions immersed researchers (and helpers) in the lives of users; now the rest of
the product team needs to be immersed in the data as well. When the team does a
Wall Walk of the consolidated data they steep themselves in the world of the user.
Then with this knowledge the Visioning Session leads a team through group story-
telling that embodies new product concepts. Together, they form a reliable bridge
to design that has stood the test of time.
With the introduction of the Cool Concepts we have added a second work-
shop, the Cool Drilldown. In these four days the team further refines the initial
product concepts using the design principles associated with each Cool Concept.
4.1 DATA CONSOLIDATION 23
As with the Visioning session, in the Cool Drilldown each sub-team goes back to
the user data before pushing the product concept further based on cool principles.
Since both workshops continuously use and reuse the consolidated data, the
team practices making the bridge from data to design and internalizes the data as
they do so. Our work with teams has shown that these three steps are extremely
effective in producing an initial set of market-relevant, transformative product
concepts which can then be defined and validated in more detail.
Below we describe the consolidation process and show examples of model
communication. Then we describe the steps of ideation used in Contextual Design.
4.1 DATA CONSOLIDATION

Products serve whole markets, but we can only find out about users by talking
to them one on one. Consolidation is the step that brings the data from all users
to-gether into a single, coherent view, showing common patterns without losing
the key variation across customers. Consolidation produces a representation of the
market that drives design action, but acts as an immersion experience itselfteam
members who participate in consolidating the data interact with it intimately and
become very familiar with it.
Quantitative techniques make data manageable through data reduction
looking just for the top findings, which hides the richness of the actual data.
Contextual Design takes a different approach: organize the rich, detailed data to
reveal the key issues, basic structure of work and life practice, and see patterns
across a market. The process of organizing the complexity of life so designers can
use it is greatly helped by having multiple ways to represent different aspects of
life. The Contextual Design models represent different points of view on the life,
the behaviors, the structure of the practice, the motives, and the issues of the tar-
get population. The Affinity Diagram reveals the overall issues of the market; the
Day-in-the Life model shows the structure and movement of the users as they
get relevant activities done throughout the day. These are both big-picture models
that reveal the larger world the user lives in. The Sequence model shows a lower
level view of particular tasks, and the Collaboration model shows group-level co-
ordination and roles. These are more detailed models. The Identity, Relationship,
and Sensation models reveal targeted customer motives, feelings, and values. Each
model focuses the team on one point of view of the users experience.
Contextual Designs multiple models allow the rich field data to be struc-
tured into multiple views so that complexity is manageable. Each model shows
different points of view on the users worldpoints of view that we have found to
be particularly helpful for driving design thinking. Once consolidated, the team
can see what is going on in their market from each perspective and derive insight.
Then they can design the best way to represent that data so that it will drive ide-
ation. Communication designthe intentional creation of diagrams and pictures to
communicate datais an essential skill. Good communication design ensures that
the data and its insights can be used by the team to drive innovation.
Figure 4.1: Using the team room to create an immersive experience.
4.1.1 THE AFFINITY DIAGRAM

The process of consolidation is easiest to see in building the Affinity Dia-
gram, but it is similar for all models. To build the Affinity, all interpretation session
notes from all users are printed on sticky notes in random order. Then the team
arranges the notes in a facilitated process that takes two or three days depending
on the number of notes and the size of the team. The notes are grouped on a wall
to reveal distinctions relevant to the design problem: each grouping describes a
single issue or a point. Groups are kept small, four to six notes in a group. When
there is a lot of data on a point, this forces the team to find more groups and
therefore more issues and more insights. Groups are not predefinedthey emerge
from the data and are specific to the data. Finally, the groups are labeled with blue
sticky notes to characterize the point made by the group. The blue labels are then
organized into larger areas of interest under pink labels, and the pink labels are
grouped under green labels to show whole themes.
Building the Affinity forces the team members to deal with each specific
observation from the field data and think about what it tells them about the users
world. Assigning this activity to one or even two people would be overwhelming,
but building it as a team over a few days is manageable and provides another
immersion experience. Building the data is already a bridge to the design process.
The affinity is built from the bottom up, grouping notes into themes one
at a time. The result is a single hierarchical structure that tells the story of the
issues across the whole user population when read from the top down. The final
affinity is easy to read and interpreta designer can simply read through it like a
story, starting with a green and then reading down through the pinks and blues,
sampling individual notes to get a full picture of the data. If done right, a design
team can understand all that matters for the market simply by reading the labels.
The affinity structure simplifies the complexity of the data without losing the rich
detail which is still available in the individual notes.
The Affinity Diagram is a good example of effective communication design.
It presents a meaningful structure, our first principle of communication design. The
hierarchical structure is familiar to everyone and naturally chunks lots of data into
smaller groupings; groupings represent coherent themes and contain yet smaller
chunks, each of which can be consumed one at a time. The resulting structure is
easy to read, rendering the complexity of field data consumable.
Figure 4.2: An Affinity Diagram during construction, showing how notes and pictures
from individual interviews (the yellow notes) are grouped into a hierarchical structure
(the blue, pink, and green notes). Note that photos taken during interviews are integrated
into the affinity wherever appropriate.
The group labels are written in story language, from the point of view of the
user talking directly to the team. This is our second principle of communication
design. Humans are storytellers. User data that is expressed as story can be read
and understood intuitively. The reader is hooked in emotionally as well as intellec-
tually. This makes the communication more direct, immediate, and impactful. Sto-
ries create a visceral experience making the users world real to the designersand
so more likely to stimulate design ideas.
Story language presented within a meaningful structure provides designers a

way in to the user data, our third principle of communication design. If designers
have no way in, they cant design for the datathey cant see the relevance. Part of
communication design is designing this way in. Others have addressed the same
problem with games, competitions, or cartoons to engage the design team. We
prefer to build the design thinking stimulus right into the model itself.
Figure 4.3: A section of Affinity after it has been put online, showing how yellow sticky
notes from individual interviews group into blues and pinks revealing issues and themes.
Note that the blues and pinks are written in the voice of the user.
Finally, the Affinity supports interaction with the data. The Affinity Wall
Walk (described below) encourages designers to engage with and interact with the
data. Interaction is important: any presentation of the data that lets the team get
away with being passive and receptive will not help the team go from the data to
design. To truly incorporate new information, people need to manipulate it and
interact with it in ways that stimulate design ideas.
The Affinity is a model of good communication design (which is why it is
so popular): the structure chunks relevant themes into manageable sections which
lead the team through the data; the story language in the labels and individual
notes evokes users experience, which stimulates design ideas relevant to the point
of view of the model. Together, they give designers a way in to understand the data
and to interact with it with design implications.
The Affinity Diagram has been used and loved by design teams as a way
to capture information and present it to others for a long time. Any project will
benefit from building an Affinity Diagram. This data can usefully be revisited
throughout the project, by other teams, and in the future. Its worth putting online
so that it can be more easily shared.
The challenge of communicating field data is to make complexity manage-
able and consumable. The Affinity Diagram does this well, so the elements which
make it successful provided us a guide for understanding how to help teams use
data. Below we discuss how we used these principles of communication design for
other models.
4.2 CONTEXTUAL DESIGN MODELS
Contextual Design uses multiple parallel representations to show different aspects

of users work and life. Each representation is coherent in itself, and the team can
look across them to see the full richness of the users practice. The thinking process
used to build the Affinity Diagram is the pattern for all model consolidations: first
break individual observations into meaningful, self-contained parts; then organize
those parts to reveal themes and the structure of the practice appropriate to the
point of view of the model; finally represent the themes in a way that can be easily
consumed by a design team, ensuring that the most important insights are accessi-
ble. Heres a quick look at some of the primary models of Contextual Design and
how they are consolidated.
4.2 CONTEXTUAL DESIGN MODELS 29
The Day in the Life model (Figure 4.4) is brought together to show the overall
structure of users days and how work and home tasks fit into time throughout the
day, supported by mobile and non-mobile technology. To recognize the common
pattern across users for the this model, the observations that matter are the small,
focused activities which occur throughout the day in different places, at different
times, on different platforms, which work together to get larger activities done.
Figure 4.4: A full Day in the Life model. This model shows the three primary areas of
interest for travelat home and work prior to the trip, getting to the vacation location,
and activities during the trip itself. Activities, issues, and device use are shown in each
location.
For example, when studying travel planning, the team saw a user pass the
time waiting for her sons swim lesson to be over by researching possible destina-
tions on her iPhone. This is a small, self-contained activity, easy to interrupt and
easy to pick up again, which might happen at many points throughout the day. It
was brought together with other occasions of quick research done while waiting.
Looking at the part of the model shown in Figure 4.5, this insight is represented as
a rectangle within the orange home bubble labeled while waiting. This shows
that one key part of travel planning happens at moments, with partial attention,
and may be interrupted at any time. Any design should support this context of
use by being quick to pick up and get into, simple enough to work despite partial
attention, and hold the users place when they are interrupted. The story text on the
model captures the essence of the user exper-ience. The model does not attempt
to cover all instances observedinstead, it provides a characteristic example to
communicate the behavior.
The overall structure of the Day in the Life model is designed to evoke the
experience of time, place, and movement. The grey panels make it immediately
apparent that there are three major contexts for the team to consider, each with
its own issues: planning, which takes place around home and work; getting to the
vacation location; and enjoying the vacation itselfwhich includes planning and
research, although at a lower level. The large white arrows show that there is a flow
from planning to the location and back again. The use of space and the amount of
content in each part of the model makes scanning and focusing possible. Graphic
elements are deliberately selected to draw the eye to distinctions the team wants
to communicate.
We find that nearly any kind of work or life activity can use a similar struc-
ture, with modifications based on the exact situation. The big cycle represented
by the white arrows show the flow through the day; the place and time contexts
represented by the gray panels might be home, work, and third places (offsite
meetings, coffee shops, and so forth).
The text blocks on the model present the users lived experience, highlight-
ing key issues in small, easy-to-consume chunks. Each chunk can be scanned in a
moment and invites reflection right then on what the design might do to respond
to this issue. They are presented in personal, story languageFigure 4.5 shows one
part of the planning phase, including doing research during the sons swim lesson
mentioned above. This vignette from the actual data makes the data real and helps
the designer connect to the experience represented by the model at an emotional
and intuitive level.
Figure 4.5: A portion of a Day in the Life model showing how travel planning fits into
life, in different locations and on a range of devices.
Our principles of communication design say that designers need a way in to

the data. To provide direct stimulus for design thinking many of the Contextual
Design models, including the Day in the Life, use small speech bubbles scattered
around the diagram to ask direct questions of the reader. These questions give
designers an initial focus when looking at the modelan entry point for thinking
about the implications of the data, highlighting what the team thinks matters to
the design. From there, designers can jump off to thinking about other implica-
tionsand they can ignore the questions entirely if they wish. But the question
bubbles stand as an example of how to use the data. We have found that the simple
addition of these questions has drastically increased the number of design ideas
generated for each model.*
The Identity Model (Figure 4.6) is built using a similar process. The obser-
vations about identity elements and personal values captured during interpretation
sessions are collected together across users into potential identity elements: sources
of pride, self-esteem, or value as relevant to a target activity. Any identity element
names captured during interviews and interpretation sessions become the starting
point for grouping the observations meaningfully to represent different aspects of
self that matter for the project focus. Then, looking at the whole collection, the
team agrees on the important identity elements and what they represent. They
pick the best stories to express this inner experience in a consumable way to the
design team.
Figure 4.6: A full Identity model for travel showing the three sections I am, I plan,
and I like
*
The final design of each of the graphics for the Contextual Design models was iterated with
users in Visioning Sessions. After their early use we talked about what worked and didnt, where
participants were confused, and what models prompted the most design ideas. The structures of
the models we present as a standard part of Contextual Design have stood the test of successful
use.
Each identity element is given a descriptive name and a short summary,

written as a story from the point of view of the user (Figure 4.7). Each identity
element is also given two ways in to understand the implications. The first is
a catchphrase, written as though spoken by the user, summarizing the emotion
around that element. These catchphrases help designers relate to the inner experi-
ence of the user. They point to a feeling the designers may recognize in themselves
and be able to resonate with. Second, we add Give Mes to the model. These are
design ideas generated during consolidation. They may or may not be used in the
final design, but are offered in the Give me box to make the link between data
and design explicit and to act as starting points for the designers own creativity.
Figure 4.7: One identity element from the travel Identity model. The Give Me design
ideas act as starting points for the teams own design thinking.
Once identified, similar identity elements are grouped together into sec-
tions. The sections vary by project, showing how the user sees themselves in re-
lation to the activities addressed by the project. In Figure 4.6, I plan represents
identity elements specific to the planning activity; I am represents identity ele-

ments that reveal an overarching approach to travel; and I like represents what is
desired during the trip itself.
From a communication design perspective, the largest structure of the Iden-
tity model is the sections inviting systematic exploration of a small set of identity
elements; each element represents an identity theme with a name that is evocative
and is described in story text; and the catchphrase and Give Mes provide a way
in to start design thinking.
As a representation of a market, the Identity model has proven very pow-
erful for teams. It helps them understand who their users are in a way that is im-
mediately actionable. And because any one person in a market may manifest any
number of identity elements, addressing all the elements with design ideas ensures
that the market as a whole is covered.
Other models are consolidated similarly. The Relationship model (Figure
4.8) shows the different people who are close to the user and how they affect set-
ting up and going on trips. The Collaboration model* (Figure 4.9) shows the differ-
ent interactions that occur over the course of planning and going on trips. Both of
these models show data to help teams design for the Cool Concept of Connection.
Like the other models their representation has structure, story language, a way in,
and a point of view on the lives of users that matter for design thinking.
The Sequence model (Figure 4.10) shows how specific tasks are done; there
will be one consolidated sequence model per task of interest. The Sequence model
is broken into activities, set off by the green bars. Each activity is a coherent part
of the overall task with its own set of concerns and actions. Activities are good
candidates for support in an app, being smaller, focused intents that could be
supported with a targeted set of functions. Sequences also show intentsthe pink
boxeswhich say why the user cares about doing a step. Intents guide redesign by
showing what really matters to the useras long as core intents are supported, the
*
The Collaboration model is a graphical communication of the interactions of a workgroup or
any set of people working together to get things done. It is the evolution of Contextual Designs
original Flow model designed for communication. We generally restrict use of the Flow model
to large processes; the Collaboration model is more appropriate for most activities.
steps can be changed. Finally, breakdownsthe boxes marked with red zigzags
show problems that should be solved in a redesign. The Sequence Model has a
classic linear structure, but the activities break it into manageable chunks and the
breakdowns and intents provide a way in.
Figure 4.8: A Relationship model for travel, showing the important people involved in
the travel story and how close they are to the user.
Figure 4.9: A Collaboration model for travel. The yellow sticky notes attached to the
model are the result of a Wall Walk, described in the next section.
Personas are treated as part of consolidation in Contextual Design. (Perso-

nas were first described by Cooper in The Inmates are Running the Asylum [4] and
incorporated into Contextual Design in Rapid Contextual Design.) Personas are an
effective way to characterize users for people who did not go on field visits. They
also act as a convenient summary for designers, putting a face on the different
types of users they must satisfy. They can act as a focusing devicethe team can
agree to concentrate on certain personas for the current project. Personas, like the
new Contextual Design models, communicate information through storycatchy,
personal, with the emotional element built in. Because they are based on field data,
they have the depth and richness of real user experience behind them. But because
they are presented as individual stories, they are simple to comprehend. We find
that personas tend to spark fewer design ideas than the models, but they are fa-
miliar and serve as a good starting point for understanding who was interviewed
by the team.
Figure 4.10: One part of a consolidated Sequence model showing how people plan for
travel. Note the multiple branches, showing different possibilities found in the actual data.
The Sensation model is treated a little differently because it helps guide visual
and industrial designers in the overall aesthetic of the product rather than de-
fining what the product should do. Our experience with these designers shows
that they can more easily design for an overarching emotional experience if
they have a visual stimulus and a list of key focusing words rather than a text-
heavy model. Traditionally, visual and industrial designers create a set of words
and pictures which communicate the overall feeling and emotional experience
the product is supposed to create. Often these mood boards are created by
teams generating words based on a brand goal or their own ideas. The Sensation
model is a data-based mood board built using similar principles as the other
consolidated models.
Figure 4.11: A persona developed during the Cool Project characterizing one type of
mobile device user. All information in the persona was collected during user interviews.
A Sensation model is created by walking the user data looking for evocative
words, user quotes and implied emotional experience and desires associated with
the target activity. These observations are gathered from the consolidated Affinity
and other models, ensuring that the Sensation model represents the experience of
the market. Then the quotes and words are organized into themes and combined
with images that evoke each theme. The images are chosen to be emotionally evoc-
ative of the experience desired by users and the words are chosen to express that
experience. Together they provide the way in for the aesthetic designers. All is then
assembled into the final Sensation model that shows the experience in images.
Figure 4.12: Full Sensation model showing the different aspects of sensation that affect
the travel experience.
Consolidation is a way to organize and present complicated field data so

that it can be used to drive design thinking. The consolidation process of collecting,
organizing, structuring, and naming themes and significant findings gives UX pro-
fessionals and design teams another immersion experienceand the beginnings of
the insights that are important for the design. Creating the models for communi-
cation helps hone and focus the insights and the messages. The presentation itself
is a critical step in creating a bridge from data to design. This is the necessary first
step in the ideation processgetting the evocative data ready to help stimulate
design thinking.
Figure 4.13: One panel from a Sensation model for travel showing one aspect of sen-
sation. The images are chosen to communicate the emotional experience of travelers in
ways words cannot.
Consolidated models are a lasting representation of the users world and

market needs. They are a corporate resourcethey can be used, accessed, and
updated over and over. We have found that the basic structure and intents of life
represented in consolidated data do not change much over timeunless the in-
dustry is undergoing massive disruption.* New technology usually just changes the
details of how those intents are accomplished. A company can expect to use this
kind of data for 35 years across multiple product rollouts.
When graphical Contextual Design models are used with the Affinity Dia-
gram and Sequences, we have found that they successfully shift a teams invention
*
Industries undergoing disintermediation, such as publishing, experience such major disruption.
Major platform changes such as that introduced by the iPhone also cause such disruption.
4.3 IDEATION 41
in the direction suggested by the Cool Concepts. They truly form a bridge to
invention and a way to bring the team into a shared understanding of the users
world and so to the best design solution for their company.
4.3 IDEATION
The problem of design is not just that of specifying a technical systemit is the
reinvention of life, from the most global elements to the most detailed. New tech-
nology changes how people approach their work and how they live their lives; that
is why it is attractive. A Design for Life perspective ensures that those changes are
desirable and valued by users.
To do such design successfully, designers need a deep understanding of the
life of the users so that their re-invention of life will be valued. The goal of dis-
ruptive technology is to transform life in a desirable direction for peoplenot
to disrupt the ability to get life done enjoyably! For great designers, immersion
in users lives has always been the trigger for creative, new invention. The details
of lifecore motives, life structures, challenges, issues, problems, desires, and so
onfeed design action.
But this is only true if the designers know what technology can do. They
need to be masters of the materials of design for their domain. User data may pro-
vide the inspiration, but it is the materials of design that are used and recombined
to create something transformative. The materials of design include everything
that can be brought to bear on the problem. Knowledge of apps, responsive design
for different screen sizes, appropriate paradigms for presenting information and
functions on different devices, use of location information, tracking user actions,
active learning, machine learning, accessing cloud data to make the users data
available, UI layouts and graphic design trendsthese are just some of the mate-
rials of design necessary for successful products today.
When technology changesas it did with the introduction of the win-
dow/mouse interface, and again with the Web, and again with touchscreens on
smartphonesthe materials of design change too. Designers have to re-learn the
materials to stay current. As a community, we also invent new materials and ex-
pectations for what is modern. Whereas once a tree structure UI was innovative, it
became dated and old. Whereas users once expected to fill out forms to tell appli-
cations their preferences, today they expect products to figure out what they want
through their actions. Without a thorough grounding in the materials of design
at every level, designers cannot create appropriate products for their markets; they
must have these ideas and concepts at their fingertips while they are immersed in
the users world so that they can respond creatively with invention, while building
on modern standards.
Contextual Design supports ideation through two team-based workshops:
the Visioning Workshop (3 days) and the Cool Drilldown Workshop (34 days). To-
gether, they form a facilitated process for immersing teams in the users world by
walking them through the consolidated data, generating scenarios exploring how
technology can enhance users life and work, and driving the implications of the
Cool Concepts into the emerging product concepts. These workshops assume that
the participants know their materialsif not, you may need to run pre-workshop
sessions to educate participants. These workshops produce innovative product con-
cepts honed by the Cool Concepts, delivering a modern experience that enables
technology to transform daily life for the better.
4.3.1 THE VISIONING WORKSHOP

The Wall Walk. The first step in the Visioning Workshop is the Wall Walk in
which participants, whether they were involved in data collection and consol-ida-
tion or not, immerse themselves in the data in preparation for design. The goal is
to help designers link design ideas to the datathe real structure and challenges
of the users world.
In the Wall Walk, the facilitator introduces the project and each step of the
process to the group, which can include stakeholders who learn about the data and
inform the direction of the vision team. If personas were created, the first step is to
introduce them so that everyone has a sense of who the users are and what their
goals are. Then the whole group walks the Affinity Diagram, placing sticky notes
with design ideas directly on the data displayed on the wall.
4.3 IDEATION 43
The Wall Walk is an individual, silent experience. Each person reads the
Affinity Diagram like a story, top-down. Each top-level section of the Affinity
communicates an issue through the language of the green label; lower-level labels
present the organized user data with detail about the issue. Each team member
thinks about design implications and writes design ideas on sticky notes, posting
them next to the data in the Affinity they are responding to. As they read and re-
spond to more and more individual issues, the designers ideas naturally get more
holistic and complete. This interactive process of reading, writing, and posting
grounds designers in the users practice and helps them make the leap from facts
about the work to design implications for the product. This interactive step of the
Wall Walk starts to pull designers across the bridge from data to design.
After walking the Affinity the facilitator makes a list of the issues that the
group thinks must be addressed to have a successful product. Anyone with an
issue voices it and it is captured. In this way the group hears what matters to each
other, creating a shared understanding in moments. Following this, the facilitator
captures a list of hot ideas: design ideas that have the potential to spark a holistic
solution. Hot ideas are written on a flip chart and grouped by the facilitator into
themes that can be used as starting points for the visioning session.
Figure 4.14: The beginnings of a hot ideas list captured from the team after walking the
wall.
After walking the Affinity the facilitator introduces each of the Contextual
Design models and participants read them in turn, individually or in pairs. They
think about the implications of the data and post design ideas responding to it.
Because each model presents a different aspect of the users practice it prompts a
different way of thinking about solutions for the design. The Identity model, for
example, makes the users self-image explicit and invites designers to think about
how product features and overall product design can promote or violate the users
sense of self. The Day in the Life model promotes thinking about how an activity
flows through place, time, and technology devicesa very different set of issues.
After walking each set of models, the team adds to their lists of issues and hot
ideas.
The Wall Walk provides an opportunity for individuals to dialog with the
data and form an initial design response, getting ready for the visioning session.
This interactive process focuses team members on how their design ideas respond
to the users world. Walking the data in a facilitated group process creates a time-
bound, interactive event producing a tangible result focused on creating new
product concepts.
The design ideas the team posts on the Affinity and on models are uncom-
mitted, spur-of-the-moment ideas; Contextual Design does not encourage the
team to get overly attached to them. But much of creativity comes through the
recombination of existing parts. These ideas will be available to the team for reuse
during the Visioning Session. Capturing the most systemic ideas in a list is an easy
way for the team to share first ideas without committing to building anything
and without having to argue about whose idea is best. The bridge to design has to
work not just for individual designers, but to bring the whole team together in a
shared direction, without overly constraining design thinking or converging on a
single solution too quickly. The Contextual Design ideation workshops are struc-
tured to do just that.
The Wall Walk is an immersion experience that can be used over and over
with different teams for different purposes. Most complex products comprise
multiple teams working on different parts; explicit consolidated data allows the
different teams to walk the data and vision solutions for their own part of the
problem. Because every team is responding to the same data, they are more likely
to deliver a coherent response.
The Visioning Session. The Contextual Design Visioning Session is a facil-
itated workshop that generates a coherent design response to the user data. It is
4.3 IDEATION 45
carefully structured to optimize a teams ability to invent creatively in the context

of user data. It is a group process where the team jointly tells the story of the users
life and work, focusing on the tasks of interest, showing how the users world will
be changed and enhanced by the new invention. In the session, the team does
multiple visions, telling multiple stories from different starting points, evaluates
the visions, and then reconciles them to create a set of coherent product concepts.
Here again, Contextual Design builds on peoples natural skill at storytelling, using
it now to generate new product ideas.
Structuring visioning as storytelling focuses the team on the coherent life of
the user: because they are telling the story of the users new life, the team has to
make that life hang together. It has to make sensethe motivations and intentions
envisioned for the user have to be realistic. Events, issues, and situations from the
actual data can be folded into the story so the team can explore how the new de-
sign would resolve real situations in the users lives. Because the team is thinking
about how the life hangs together, the design will be holistic and coherent.
This structure for visioning also supports design in teams. Creative design
requires a balance between divergent and convergent thinkingbetween coming up
with multiple, disparate possibilities and settling on a single, mutually acceptable
approach. Teams can limit creativity by converging too quickly on a single option
without properly considering alternatives. This is what people are worrying about
when they criticize groupthink. The visioning process supports divergent think-
ing by allowing designers to each have their own, individual design ideas during
the Wall Walk, and then leads the team to work out multiple possibilities in mul-
tiple visions. Then the process works towards convergence through the storytelling
in the visions and by bringing the visions together into one high-level design.
Invention also requires putting off evaluation. It is not possible to be cre-
ative and evaluative at the same timecreativity requires free exploration, without
worrying at every instant about whether an idea is practical or sounds silly. The
Visioning Session puts off evaluation until after all the stories are told so that the
visions themselves can be free of the yes buts... that get in the way of the flow of
creative thought.
Finally, detail is the enemy of creativitybut engineers love detail. If a team

stops and works out the details of every idea as soon as they have it, theyll move
very slowly, and wont be very creative. In fact, speed is the friend of creativity. It al-
lows designers to move quickly enough over the whole design to keep all the parts
together, without getting stuck on one part. The visioning process keeps the team
operating at a high level, moving down to successively more detail in later steps.
Creating a vision: A vision starts with a hot idea off the list made earlier.
Based on that idea, the team starts storytelling. One person starts describing what
a userusually one of the personaswill do in the new world, inventing product
features as they go. Others share their ideas as the story develops, so it becomes a
team creation. As they talk, one person plays the role of pen and draws the ideas
on a flip chart as a coherent, pictorial story.
Team members see their vision becoming concrete on a flip chart as they
talk and are encouraged to build on each others contributions to generate the
story. No one criticizes anothers contributionif they see an issue with an idea,
they think about how to fix it and propose a solution. The storytelling continues
until the team runs out of ideas or until the scenario reaches a natural end. Be-
cause the discussion gets lively, its best to restrict a visioning team to no more
than eight peopleseveral teams can vision in parallel if you want more people
to be involved. A vision should take 2040 minutes to create, depending on the
complexity of the practice being supported.
When the team decides a vision is complete enough, they put it aside, turn
to another hot idea, and do another vision. Because each vision is, by design, sys-
temic and holistic, it is quite likely that a vision incorporates more than one hot
idea. So after each vision, the team re-evaluates which hot ideas have been covered
and which will be most interesting to do next. It is rarely necessary to do a separate
vision for every hot idea. Similarly, because the people in the vision session walked
the wall, they already have their design ideas in their headsas the story of the
users new world emerges they naturally pull in their own ideas, adjusting them to
the story thats being told.
4.3 IDEATION 47
A team typically completes 4-6 visions to address a design problem. In some

areas the visions are likely to build on each otherWell just handle that the way
we did in the last vision, the team might say. In other areas, the visions will be
independent. In others, they will be incompatible. This is expected.
Figure 4.15: A vision created by a teamhand-drawn, on a flip chart. Ability to draw is

not a necessary skill for the pen.
Vision evaluation: Once the team completes visioning they can bring their
evaluative thinking to bear on the emerging design ideas as a separate step. This
is itself a design stepidentifying aspects of a vision that dont work prompts the
team to generate new design solutions that work better. On the flip side, identify-
ing what is working makes good ideas explicit, ensuring they are not lost and that
everyone on the team understands why they matter.
The critique in vision evaluation is tightly structured. There are only three
valid issues with a vision: lack of fit to user practice, technical difficulty, and in-
compatibility with the business mission. In evaluation, the team first lists all the
aspects of the vision that work (they fit user practice, are easy to do technically,
or fit the business mission), then the issues and problems. As they list problems,
they are encouraged to suggest design ideas to address them. In this way, the team
implicitly prioritizes what they want to take forward and what they want to let go
from their initial design thinking without having to have a heavyweight prioriti-
zation process.
Identifying product concepts: The vision stories imply new product concepts.
Any significant product is composed of feature sets, app suites, and related services
that work together. The visions contain these concepts within a story of to-be use.
But they will be developed and delivered as coherent product elements that have
to hang together coherently. Each product concept holds together and could (in
theory) be delivered as its own product. If the teams only view of their design is
as a set of scenarios, they will only see the featuresthey will not see how the
concepts have their own structure, relationships, and coherence.
The final step of the Visioning Session is to identify the product concepts
explicitly. Each vision suggests product concepts that may have been built up
across other visions. The vision evaluation makes it easier to identify the coherent
product concepts because the evaluation focuses on the vision elements, not the
entire scenario. For example, in our travel project the team identified a research
tool, with a collection area for ideas and an app for in-the-moment research; a
planning tool for laying out the trip and making sure all logistics have been con-
sidered; and an app for taking on the trip to record and share memorable events.
4.3 IDEATION 49
These product concepts work together as a whole solution, but each can be thought
about and refined on its own.*
The team draws each product concept separately, pulling the best ideas for
that concept from all the visions, using the design ideas and vision elements from
one vision to solve problems identified in another. This process encourages the
team to think of each vision not as a monolithic whole, but as a grab-bag of parts
that can be recombined and repurposed to both solve the users problem and bring
value to the business organization. These high-level product concepts feed the next
phase of ideation. This is also a good time to share the vision with management
stakeholders to check direction.
4.3.2 THE COOL DRILLDOWN

The final part of high level ideation is the Cool Drilldown workshop. Design for life
means designing to fit the whole life, including structure of activities throughout
the time and places of the day, motivations, attitude, and self-image. Designers are
not used to addressing these aspects of design, so it is easy to overlook them in the
visioning session. Getting these aspects of design right also requires more detailed
design than the quick construction of visions allows for. The visioning session is
intentionally fast-paced. Theres no time to engage in a reflective conversation
exploring the implications of each Cool Conceptand with at least a rough idea
of product direction such reflection is more worthwhile. So once the Visioning
Session has produced a set of clear product concepts the team can take time to
consider how to design in a cool user experience.
The Cool Drilldown guides designers through the implications of each Cool
Concept and its associated principles for their design. Each Cool Concept focuses
on a different aspect of life and implies different design principleswhat should
be designed in to best produce a transformative experience. No one person or
team can reasonably consider all these dimensions simultaneously without getting
overwhelmed and losing focus. So the Cool Drilldown workshop focuses the team
*
Identifying product concepts in this way also supports iterative development processes. It would
be natural to assign each product concept to a different Scrum team, for example; and the vision
elements can be quickly evolved into user stories.
on one new product concept and one Cool Concept at a time. The team works in
small groups in parallel, so they can move very quickly. Designers become more
aware of the design principles for cool and produce enriched product concepts in
a reasonable length of time.
In the Cool Drilldown workshop, the team starts by identifying the product
concepts they want to cover, usually about 46 concepts. Taking each product
concept in turn, they break into sub-teams. Each sub-team focuses on a different
Cool Concept. Using the 810 design principles associated with each concept,
individual sub-teams optimize the same product concept according to the design
principles associated with their Cool Concept. They use the data on the Affinity
and Contextual Design models to feed their more detailed thinking with the
actual customer data; then they brainstorm and sketch additions to the product
concept that will enhance the cool user experience based on principles for their
Cool Concept. This focused design process is another way of bridging from data
to design, using design principles important for creating a transformative user
experience.
Each subteam does this same drilldown on a different Cool Concept in
parallel. In this way a single product concept is simultaneously enhanced to get
the flow of life done better (Accomplishment), make connections to people that
matter easier (Connection), support identity elements explicitly (Identity), create
delightful and useful graphics and animation (Sensation), provide more direct
interaction (Direct/Hassle), and eliminate learning as a task (Learning Delta).
But now each subteam has developed ideas independently, so the product concept
is no longer coherent. So after the subteams do their work, all these independent
enhancements to the product concept are brought back together in a full team
review session and reconciled into a single, revised design concept incorporating
the best parts of all drilldowns. The result is a product design that addresses more
of the Cool Concepts and addresses them better, and therefore is more effective
and desirable.
Each product concept is addressed in this way, resulting in a richer set of
high-level designs. Subteams shift from one Cool Concept to another as they
4.3 IDEATION 51
optimize different product concepts so they get familiar with all of them. In this
way, they learn how to design for cool without getting overwhelmed. At the end of
the workshop the team has internalized the customer data, has experience working
with the cool principles, and has a shared understanding of what they would like
to build in the future.
Now, with a sound conceptual design in hand, the team is poised to develop
real function and a designed UI. That is the province of the third part of Contex-
tual Design.
53
CHAPTER5
Detailed Design and Validation

The third part of Contextual Design deals with design itself: to take the concept
developed in Visioning Session and elaborated in the Cool Drilldown and give it
a structure, function, interaction, and look that enhances the users lives. Creating
good, innovative designs has always been hard; now that connected devices are ev-
erywhere, fitting into life at every moment, the design task has only gotten harder
and getting it right more critical. At the same time, Agile processes [5, 6] have
reduced the time available for focused design thinking. The steps in this third part
of Contextual Design are designed to thread this needlejust enough focused
thinking to create a coherent design combined with quick and early prototyping
and iteration to refine the work in progress.
Designing all the parts of a product so they work together coherently is hard.
It was always hard, even with large monolithic systems like standard ERP systems
and big websites, and its even harder when designers have to create apps that fit
into moments in the persons day. Its easy to get lost in the weeds, focusing on
one part of one app, and lose any sense of the overall structure and its relationship
to peoples lives. The challenge is to keep that structure in mind and ensure its
coherence even while working on the details of one part. Designers need tools
that represent the overall structure so they can analyze and discuss it independent
of the details of any part. (This is why web designers create site mapsthey are a
structural view of the site that show all the parts and their relationships at a high
level.) Below, well share Contextual Design techniques and team-based activities
that help the team see their design structurally at every pointand so ensure the
whole team shares the same understanding of the emerging design.
In describing the design process its convenient to think of design in layers,
starting with an abstract and fuzzy concept and refining it to produce a specific
UI with precisely defined function and interaction. We will describe Contextual
54 5. DETAILED DESIGN AND VALIDATION
Designs steps this way. But remember in the sections that follow, that these layers
are not addressed purely sequentially, one after another, as if this were a waterfall
model. That doesnt work. Not only would it require a long design phaseanath-
ema to Agile developmentbut the layers inform each other. If designers know
that infinite scrolling (a low-level interaction paradigm) is available, it will change
how they think about higher layers of the design. So in each iteration each layer
of design is touched lightly to produce a provisional design for the product. User
feedback usually addresses all layers at once, because users see the product ho-
listically. But when designers can see and think structurally they can focus early
feedback on validating the structure and product concept, saving UI details for
later iterations when the structure is stable.
In Contextual Design, the design phase comprises three primary layers. The
first is practice design: figuring out how the user moves through the system in the
course of their activity (even if it is spread out over time, place, and device), with
the right function and information available at every point. Its where the life of
the user meets the functionality and structure of the product. Practice design de-
fines virtual places that support the different parts of the overall activity cleanly:
everything necessary and nothing extra. Practice design includes the behavior of
the system, including adaptive algorithms such as learning the users preferences
by example. Practice design does not worry about how places and functions show
up visuallythats a concern for the lower layers of design (remembering always
that layers are not cleanly separated in time).
Practice design uses scenarios, use cases, and user stories to explore the
different tasks, activities, and situations the user may encounter and how the prod-
uct will support them. When your user data shows that people have to go to 87
separate places to do their job (a real example, from the insurance industry), you
know already that your system has problems. Contextual Design uses storyboards
to ensure that the scenarios of use are coherent. Storyboards make the team think
through the practice coherently, ensuring the user experience makes sense.
Practice design is where true, game-changing innovation happens. This is
where the new product concepts from ideation are made real. Innovation at lower
5. DETAILED DESIGN AND VALIDATION 55
layers of design can improve the product, but doesnt introduce fundamental im-
provements in how activities are done or the important goals of life are supported.
That kind of transformation of life has to happen here; support of the Wheel of
Joy in Life happens here. We emphasize this because this is also the easiest layer
to skipits seductive to jump right into sketching out UIs and designing pages.
You can even get away with it, in that youll still have a product at the end. But
you wont have the innovation you might have had if you had looked at practice
redesign first.
The next layer we identify in Contextual Design is interaction design. Its an
overused term, but useful: by it we mean designing the layout of the screens and
the users basic interaction with them, independent of the specific graphical look.
Interaction design might specify a top navigation bar for a specific purpose, and an
area to display the primary content. It might specify infinite scrolling, expand-in-
place, and swipe-sideways for the content area. It would not specify font, color, or
graphical decoration on any of those parts. Good interaction design ensures that
each place defined in practice design has a layout that clearly presents the purpose
and function available in that placeeven a good design can be destroyed by in-
teraction design that obscures the purpose of the place. Creating a real Direct into
Action user experience happens here; a central concern at this layer is to support
the concepts in the Triangle of Joy in Use.
There are two structural elements for designers to focus on during interac-
tion design. The first is the structure of the screen itself, independent of specific
elements on that screen. A clean screen structure is easy for the user to make sense
of. The second is the consistency of screen structure across the design, so that as
the user moves from screen to screenand device to devicethe basic structure
is consistent, familiar, and comfortable.
Interaction design also covers the design of the content being presented.
Access to informationcontentis a critical part of many products supporting
connected lives. How content can be found and scanned, how different content
elements relate to each other, the tone in which it is writtenthese are complex
issues (check Amazon to appreciate how complex) and need to be designed ex-
plicitly.
The final layer we define is the visual design, in which the graphical treat-
ment, colors, branding, animation, and details of interaction are defined. Visual
design structures the users experience by what it emphases, how it uses graphical
elements and white space to draw the eye and lead it through the page, and how it
uses interactions to guide the user. (An example of the last is the bounce intro-
duced by the iPhone to show that the user has reached the end of a scrolling list.)
Well done, the visual design reinforces and emphasizes the purpose and structure
designed by higher layers of the design process.
Visual design has its own structural aspect. It has to ensure consistency of
look and experience across the whole product, regardless of platform. This is where
the Sensation Model helps the designer determine what tone, brand, feel they
want to communicate. Aesthetic design contributes to the cool user experience of
any product. But as we found in the Cool Concept of Sensation, people expect a
modern, well-done visual design; delivering anything less reduces the experience
of cool. Gratuitous animation, abrasive sounds, or unappealing color undermines
that experience. Getting the visual design right matters and enhances productsif
good practice and interaction design are already in place.
So design is a layered activity, with a natural sequence to the layers, each
layer having its own concerns and its own issues and requiring somewhat different
expertise. Visual designers need to understand graphics and color; UX designers
need to understand how users approach systems. Yet the layers are also interdepen-
dent, and in an iterative process design at the different layers proceeds in parallel.
Managing this design conversation is hard. Its easy to get lost in the layersif a
designer objects to a button, are they objecting to the button itself, its look? Or are
they objecting to the function the button represents? Or merely its place on the
page? When different roles, such as user researcher, interaction designer, and visual
designer, with different skills and language, are all on the team together the con-
versation gets even more complex. Contextual Design helps a team separate the
5. DETAILED DESIGN AND VALIDATION 57
conversationseven when theyre happening at the same timeso that everyone

knows what is being discussed.
The layers of design overlap not only because they inform each other, but be-
cause the design is created iteratively. Iteration with user feedback is fundamental
to this phase of Contextual Design. It keeps the design on track. Designers sitting
in a room talking to each othereven when they start from user dataget lost
in the details of a design. They think too hard about points that dont matter and
argue too long about questions that can only be resolved by the user. They spend
vast amounts of time developing a feature only to discover, on user test, that users
dont value that featureand then theyre too invested in it to give it up easily. So
Contextual Design encourages a quick trip through the layers of design, taking
the result out to users for feedback, and using that feedback to redirect the design.*
The first iteration may be very rough, and thats fine. Later iterations will refine the
design, add detail, and finally result in a polished product.
Theres also a good business reason for early prototyping and iteration. Put-
ting your concept in front of users gives you early feedback on whether the concept
itself is any good, and helps you make the business case for developing the product.
Field interviews can validate the basic concept while getting feedback on the pre-
sentation layer. And if the Cool Metric is used at the same time, feedback from the
score can tell the team what dimensions of the cool user experience are strong or
weak. Together, the user feedback and score can guide the team in design changes.
If the Cool Metric was used on a prior product or competitive product, the team
can compare their scores to the other product to make sure they are moving in the
right direction.
The result of explicitly designing in layers is a flexible process that works
well with modern iterative development practices, such as Agile and Lean UX
[7]. Well now walk through the activities of Contextual Design for detailed de-
sign: Interaction Design Patterns, Storyboarding, User Environment Design, and
*
This is a similar approach to that advocated by Lean Designget quickly to a prototype good
enough to test your key design questions and no more. When those questions are answered, then
youre ready for the next level of detail.
Validation testing. We will discuss each in turn, but remember throughout that in
practice they happen in parallel and continuously interact with each other.
5.1 INTERACTION DESIGN PATTERNS

To ensure that the team has the best modern design materials, they start by look-
ing at existing interaction design patterns for inspiration. Once possible high-level
approaches are identified, the interaction design patterns evolve and are iterated
along with the other aspects of the products overall design.
Figure 5.1: An interaction pattern analysis of a website showing the primary components
of the screen.
Interaction design patterns define how function might be presented, the

structure of the pages, access to content on the pages, and navigation across pages.
These interaction design patterns give the team a way to think structurally about
5.1 INTERACTION DESIGN PATTERNS 59
the design they are creating without getting caught up in lower-level and graphical
details. This step ensures that the design team stops to think about what consti-
tutes a modern design and what techniques and trends of interaction design are
important to their situation. Seeing how others have approached designs similar to
their own product concept widens the teams vision of what is possibleespecially
when they look to other domains and types of products. It enhances the teams
knowledge of interaction design materials. This is not mere copying: this analysis
jump-starts the designers own creativity by giving them a set of options and a
starting point. And since most designers are visual thinkers, having such a visual
representation is an important aid to creativity.
To generate these preliminary interaction design patterns, the team starts
with the sketches of the product concepts from the Cool Drilldown. While these
sketches will not define all function and every page, the central areas and most
important function to be designed will be represented. These are the places and
interactions the team has to think about and define interaction patters for.
The team then explores how other products have approached similar prob-
lems. They deliberately choose sites and products that will challenge their entering
assumptions about how such an interface should be structured. Business applica-
tions can benefit from looking at consumer products for hints on creating modern
interfaces.
For modern interface design, materials include design elements such as
carousels that show lots of information in a small space, responsive nav bars that
orient the user as well as showing available options, buttons that appear and over-
lay content only when needed, and teaser content that expands in place to show a
full article, to name just a few. Such interaction elements have come to be expected
by users and must be at the designers fingertips so that they can be incorporated
into a design. But interaction design technologies and industry trends advance and
change. Continuously re-familiarizing a team with modern design practices is the
best way to ensure they are designing with the latest materials. Then the team can
recombine and change mechanisms from sites they analyze, adding new elements,
to come up with their own preliminary interaction design structure.
Figure 5.2: An interaction design pattern for collecting content across the Web, showing
the primary screen areas that support the overall task. The level of detail in this pattern is
typical of one created prior to UI design; prior to storyboarding there may be less detail.
The team creates an interaction design pattern for each major screen in the
design, as identified in the Cool Drilldown. They use ideas from the comparative
sites as appropriate, thereby building on users expectations in this domain, but
modify and revise as needed for their own design problem. The interaction patterns
depend on the platform (phone, tablet, desktop), in which case a pattern is created
for each platform. The team also has to have a concept of how pages might work
on a touch vs. computer interfaceand if interactions such as disclosure of hidden
content will operate by different mechanisms on different devices. Each platform
has its own interaction standards to take into consideration and steal from. It is
5.2 STORYBOARDING 61
never too early to get the team to think cross-platform so that they will take that
breadth of thinking into storyboarding.
The interaction design patterns act as a framework for designers, focusing
them on the structure of the page and the structure of the system from a UI
perspective. The patterns focus the team on thinking structurally about the user
interface, which moves them away from thinking only about functions or look of
the page. Pushing the team to think structurally ensures greater consistency within
and across the system. And by starting the team with these initial interaction pat-
terns the team simultaneously uses modern design approaches and principles while
they are reinventing the practice.
As we said above, the layers inform each other. Creating these initial interac-
tion patterns helps designers imagine a user interacting with them, using functions
suggested by the patterns, as they follow the scenarios fleshed out in storyboarding.
These interaction patterns will change as the team works through the low-level
design, but they provide a concrete starting point. They introduce less experienced
teams to design possibilities already out in the world which they can use as-is or
revise for their own purposes. Experienced teams use them to think about what
they will add to push the envelope, guided by the Cool Design principles.
5.2 STORYBOARDING
Storyboards help the team work out how specific user activities and situations
will be handled by the new design. They sketch the sequence of events as a story,
drawing each step to show users, screens, and their interactions on each platform.
A storyboard ensures that the work and life of the user are supported by the new
product. Storyboards work through different cases, tasks, and situations to define
how the new design will support them. They work much like storyboards for a
movie, which show what happens in each scene without going into too much de-
tail about any scene. Its easy to break the users existing practice by jumping from
the big new idea to low-level user interface and implementation design without
con-sidering the impact it has on the flow of the users activities. As soon as de-
signers start focusing on technology, technology and its problems become their
central design concern. Storyboards work against this tendency.
Storyboards also limit the level of detail at this point in the design process.
A storyboard cell can only hold so much; a drawing of a UI within a cell can only
describe so much detail. The preliminary interaction patterns suggest structure
and function without pushing the team into too much detail. All this helps keep
designers from diving down into the small details of their design before the overall
product structure has been settled. Especially when a design addresses multiple
platforms, the team needs to see the overall coherence of the activity as it moves
across time, place, and platform before being caught up in the many details of each
platforms UI.
Figure 5.3: A storyboard working out the steps of one interaction with the system. The
story is fed by the consolidated Sequence models and by the vision. Elements of the
screens drawn in storyboard cells are suggested by the initial interaction design patterns.
5.2 STORYBOARDING 63
Storyboards encourage the team to use story thinking, designing the whole
flow of life to show how the user will move through time and place to get their
activities done. Then, when they have finished the primary scenarios of use, they
can look across their storyboards and optimize how the system hangs together as
a product offering. Only then do they worry about how to structure the product
appropriately for each platform. Optimizing an interface for one scenario will not
yield an optimized system or suite of apps, so its essential to get the practice right
before settling on any system or UI structure.
The process of storyboarding keeps the team honest and the design clean.
Guided by the affinity diagram and consolidated models, the product concepts
are made real in these stories. Storyboards ensure that the team does not overlook
any intents or steps that are critical to the users practice. Even when the design
changes the practice, designers have to think through the details of how it will be
changed to ensure that the new approach works and adoption is easy. The consol-
idated field data and Contextual Design models help focus the team on the world
they are designing for so they can get real about what they are doing to the user.
Storyboards flesh out the product concepts by grounding them in the stories
and motives of users lives. They are guided by the consolidated models, which
describe how users have different identities, relationships, patterns of life, and
collaboration stylesall of which need to be accounted for in the storyboards.
If different users approach a task different ways, a storyboard is created for each
different way to show how the new product will work in that situation. The team
uses the storyboards to invent the right function and the right product structure
to support each user situation.
Separate storyboards are created for each main task and each main user sit-
uation. A team might start with a happy path storyboard showing the user doing
the task in the simple case where everything works, designing places and functions
as they are needed. They follow the Day-In-Life model scenario showing the how
the product will support the activity when the work starts at home, is interrupted,
continues during the users commute on their mobile device, and is finished during
a break at workreflecting how people use devices now. They draw storyboard
cells showing manual steps, rough user interface components, movement through
the world, app and device use, and system activity and automation.
But then the team needs to create a range of storyboards to explore the
dif-ferent issues important to this particular design. So after the happy path case,
they do variants showing different problems and difficult user situations found in
the data. The team uses storyboards to explore design for different platforms: how
the activities of the task to be supported will be accessed through different plat-
forms, what to provide on each platform, and how to keep the activity coherent
across devices. The team designs for time, how useful things will get done in mo-
ments, and for relationships, supporting meaningful connection in the context of
the activity at hand. Overall, the team generates the key scenarios they must walk
through to have a complete designall guided by the user data.
After each task has been thought through and sketched, the team reviews
it to ensure that it remains true to the customer data and the Cool Concepts.
This ensures that the design accounts for the users strategies, tasks, and issues
and that new inventions either support the users practice or give them a better
way to approach it. A design might change all the existing steps of an activity and
even eliminate whole activities altogether; as long as people can still achieve their
fundamental intents, the change will work. When teams forget or ignore the users
intent, the design is in trouble.
Design with storyboards ensures the design accounts for the context of use.
But the context is not just the task being supported, or how features are structured
and grouped in a product; the context that matters is the overall life of the user
and the way any activity fits into that life. Storyboarding brings this context into
focus for the team during the detailed design process.
5.3 THE USER ENVIRONMENT DESIGN

Storyboards explore how a design supports the flow of the users life. But there
is another, equally important aspect of design, which is the structure of the system:
laying out the parts of the product so they make sense as a system. Design alter-
nates between these two perspectives, first telling stories about a new system, story
5.3 THE USER ENVIRONMENT DESIGN 65
thinking, then organizing the parts of the system structurally to see what they
imply, which is structural thinking. Contextual Design provides the User Envi-
ronment Design (UED) to show basic structure and function (Figure 26). The
UED can be used to design a new product, show additions to an existing product,
or represent a suite of apps and products that share data in a mobile world. Just as
architects draw floor plans to see the structure and flow of a house, the UED shows
designers the virtual floor plan of their new system.
The UED shows the structure of a product as a set of focus areas, places
within the system that provide support for coherent activities. A focus area might
be a window, web page, or screen. The UED shows each part of the systemhow
it supports the users activities, exactly what function is available in that part, how
it is organized in an interaction design pattern, and how the user gets to and from
other parts of the system. When complete, the UED breaks the function and
content of the system into coherent places that work to support all the scenarios
of use.
Figure 5.4: A single focus area (left) and interaction design pattern (right). The focus
area defines what happens in the place; the design pattern provides the basic layout for
presentation of the place.
Each focus area in the final UED is associated with an interaction design
pattern to be used to present the function. The organization of content and func-
tion within a focus area is another aspect of structural design: the structure of the
interface. Structural design of the interface looks at the organization of the focus
areas and communication between them, the layout of each focus areas interface,
and how a person interacts with it.
If a design supports multiple devices, focus areas in the UED may be spe-
cific to a device. The UED needs to show how an activity flows across devices,
supported by the system. This is best done by showing interfaces on different
devices as separate focus areas, even when the function overlaps significantly. The
interaction design patterns associated with each focus area allow the team to scan
across the system and ensure that the interaction is consistent everywhere. Its best
to print out the focus areas and spread them out on a table or wallthis allows
the designers to scan across the whole system easily. Then they can redesign and
tune the system structure and interaction design patterns used across the system
for optimal use both in each focus area and across the system. It allows developers
to look at the functions of each focus areas to be sure they can deliver the function,
automation, and data needed to support that place.
Figure 5.5: A UED for an online grocery shopping system. This UED map shows just
the focus areas and connections between them supporting flow through the system.
To create a UED, the team walks the storyboards and pulls out the impli-
cations of what the system needs to do to support each cell, defining focus areas
and functions as they go. As the implications of storyboard after storyboard are
rolled into the UED, the team starts to see the best way to structure the system
5.4 TESTING AND ITERATION 67
whether delivered on the Web or on the desktop, as a set mobile apps or one
monolithic system. When storyboards show activities crossing different platforms,
the UED reveals how each platform may share structure and function with other
platforms or may provide unique variants suitable to that platform.
Documenting the product design with the UED provides a roadmap that
can laterafter validationbe used to create Agile releases, user stories, prioritize
roll out over multiple product versions, or hand off to different groups to work in
parallel.
5.4 TESTING AND ITERATION

At this point, the team is ready to complete the interaction design knowing that
the structure of the system makes sense. But its important to recognize that
neither the structure, nor the UI, nor even the product concept has been vali-
dated with users. Is this product concept something anyone wants to buy or use?
Will this structure actually work in the context of users real lives? An iterative
approach to design says a team should do the minimum work necessary to cre-
ate a prototype just good enough to give reliable feedback on whether the basic
design concepts work. A complete design is not necessary to start this validation
processyou dont need a fully rendered visual treatment or even all parts of the
system fully defined.
Contextual Design focuses on how to validate and iterate product designs
to ensure that teams build the right thing for their users and their business. So
we will skip over the details of how to design a good UIthere are lots of other
good books on these disciplines that we dont need to duplicate. Our emphasis is
on using structural thinking in the UED and interaction design patterns to get the
basics right, then doing quick iterations with users to refine the details and nail
down latent needs.
In Contextual Design testing and iteration starts by creating a rough pro-
totype of the design, usually in paper, and having users work with the prototype
in field interviews. Users cannot give good feedback if presented with models or
even storyboards directlysuch design artifacts are too abstract, and too much of
users knowledge of their own work is tacit. However, users can interact with a user
interface mockup and talk about their reactions. If the product is a device, they
can hold it in their hands and experience the form factor. So to test ideas, a team
moves quickly through initial storyboarding, UED, and UI design, and produces
a rough user interface as soon as possible. This rough user interface is mocked up
and tested with users. Typically, the time from ideation to mockup interview is
only a few weeks.
Mockup interviews help designers understand why design elements work or
fail and help to identify needed new function, especially latent needs that could
not be discovered until the user started interacting with the design. This iterative
testing starts with rough mockups built using ordinary stationery supplies (Figure
5.6). Rough prototypes provide several advantages: they are quick to build; they
communicate to the user that the design is incomplete and invite feedback; they
are easy to modify during the prototype interview to instantly try out changes and
new design ideas; and they focus users and designers on the fundamental struc-
ture, high-level interaction pattern, and top function of the prototype, rather than
low-level details of the user interface. And they can quickly represent the product
function across multiple platforms.
The prototype is built so that it tests the most important issues of the design.
(Lean UX embodies the same philosophy: identify and test critical points early.)
If the design is to work on mobile devices, the prototype may be implemented as
smartphone-sized cards to test whether it can be useful in that size and in real life
contexts. We test such designs with people while they are on the go, not just in
their homes or offices. If the product collects and presents information, as many
task support systems do, real content is developed and embedded in the prototype
so that users can experience having such content available at the moment of need.
This helps us test content tone, length, clarity, and structure.
A mockup interview is based on the principles of Contextual Inquiry de-
scribed earlier: We test with users in their contexts to keep them grounded in their
real practices. Users interact with the prototype by playing out their own activities
within the mock-up manipulating and modifying the prototype directly. The part-
nership is one of co-design: as the user works with the prototype, performing a task
they need to do or did in the recent past, the user and designer uncover what works
and delightsand they uncover problems and adjust the prototype to fix them.
Together the user and interviewer interpret what is going on in the usage and come
up with alternative designs. The overall focus of the interview is to understand what
works and what doesnt in the prototypeand whether there is perceived value.
The team may decide to administer the Cool Metric as part of evaluating
how they are doing during each round of iteration. The Cool Metric is presented
at the end of the interview, after the user has experienced the product idea and so
can give a meaningful score. This measurement tool allows the team to get a quick
read on their new designhow well are they supporting the Cool Concepts? How
much of an improvement is it? And where is it weak so there are opportunities for
improvement? The score points to strengths and weaknesses to be addressed in the
next round of redesign.
The context of the interview is designed to mimic as closely as possible the
context of real use. For example, when making new interfaces for automobiles, one
team put mockups on the dashboard of the users own car and played pre-recorded
audio from an iPod and mini speaker. In the test, they drove with users in their
cars, imitating the verbal and visual messages of the new system. In this way the
design team saw the users actual response in their car while driving. They dis-
cussed the users reaction with them and, co-designing, determined the best way
to communicate to a driver. In the same way, mockups for mobile devices can be
presented as cards on the target device itself, so designers can see how the device
affects user interaction.
After the design has been tested with four to six users (depending on the
scope of the project), the team redesigns to reflect the feedback. The Cool Metric
score (if used) and design principles from the Cool Concepts inform the redesign.
Multiple rounds of mockup interviews and iteration allow design and testing in
increasing levels of detail. Over the course of the rounds of mockup interviews the
team moves from rough representations to wireframes with increasing detail, to
on-line clickable prototypespossibly with a visual design treatment so that can

be tested as well.
Prototypes get more and more realistic as structure, layout, and user value
are established. When prototyping for mobile devices or for product concepts
that cross platforms we need to test on all platforms and situations to see how the
flow from platform to platform works. For low-level user interaction, especially
for touch interfaces, a working prototype that runs on the target platform may be
essential to really see what is happening in those momentary interactions. But it is
still best for the initial prototypes to be in paper because they encourage change
they invite the user into the conversation about overall product value, high level
function, base interaction paradigm, and other elements of core structure.
After two rounds of testing (with a redesign pass after each round to address
the issues found in each round), it is helpful to do a Cool Drilldown review of
the design. As with storyboards and with visioning, doing the work of test and
redesign requires the team to focus on the many details of the design. It is inevi-
table that they will get lost in the details. A review process at this point reinforces
a structural viewit rebuilds their sense of the overall product and user interface
structure and gives the team perspective on whether they could address the Cool
Concepts better. This shift in perspective forces them out of the weeds and gives
them a framework for coming to the design afresh. Revisions to the design from
this Cool Drilldown can be folded into the next round of mockup interviews.
We find that three rounds of testing are generally enough. After three
rounds, the team has finalized the structure of the product, the basic interaction
design, the content type and tone, any navigation structure or information archi-
tecture, and has clarified any business rules. The third round usually starts testing
detailed user interface and interaction paradigms that are hard to test in paper, so
it may need to be online. The third round can also include a preliminary visual
design. These interviews may be remoteafter two rounds of face-to-face testing
in paper, a third round of remote interviews can work well. Finally, a highly in-
teractive design may benefit from a fourth round to ensure the visual design and
touch interactions really work.
In an Agile process the third round of design may overlap with the first
round of developmentthe online prototype may in fact be the first iteration of
development work. From that point forward the UX designers and coders should
work in a tight partnership, with the developers passing working code to UX
designers and UX designers passing feedback and new designs to developers [8].
Figure 5.6: A sample paper prototype. Parts of the UI are differentiated with sticky
notes; information is hand-written so it can be added to or changed with users on the fly.
Note that the popup leaves space for adding or changing information in the moment.
The validation rounds of prototype interviews take the product concepts

back into the real world of the user and put them in the context of the users life.
This is another round of immersion and get real for the design team. It is the
ultimate test of product receptioninviting the user to do their real tasks using a
mockup in a lets pretend situation instead of getting a demo and being asked for
an opinion. Just as in the initial Contextual Inquiry interviews, people can respond
with reliable information when they are doing their own activities in their own
life context. This is very different from a lab or simulator with pre-defined tasks
set up by the interviewer. Immersing the new product concept in the world of the
user is the best way to determine if the team came up with something of lasting
valuewhile at the same time working out the final details of the design itself.
73
CHAPTER6
Conclusion
Contextual Design encourages holistic, systemic design, looking at the whole work
and life context of use and responding with an integrated design that broadly
supports user activities. From visioning through validation the team takes a large,
loose product concept and turns it into a detailed design that can guide product
specification and rollout planning. With customer data documented and at hand,
and with the UED and UI specifications written down and tested with users,
product managers and design teams can plan their development rollout using
whatever methodology the company prefers. Contextual Design produces the
product concepts needed for the next step of development, whether that is to write
product requirement documents, functional specifications, Agile user stories, or
something else. Contextual Design drives these concepts from a deep understand-
ing of the users and supports the design team with design processes that keep that
user focus front and center.
Good design has always been difficult. With the introduction of mobile
devices, always on and always connected, design has only gotten more difficult
and more exciting. The potential impact of a new product on human lives is more
profound and more valuable than ever. But to do it right, teams need a design pro-
cess that is sensitive to the larger world of the user, steeps them in that world, and
guides them to use what they have learned to produce products that are successful.
The context of use today is much richer and more complex than ever before; the
impact on peoples lives is much more profound, and the technological possibilities
are much deeper and more wide-ranging.
In our industry, the design processes we use must grow to meet these new
challenges. Whereas it used to be merely desirable to immerse designers in the
users context, a deep understanding of the users lives is now critical to developing
a successful product at all. Designers need not only a process for going into the
74 6. CONCLUSION
field and finding out about users, but also a conceptual framework for making
sense of what they discover. They need a way to use that data for the purpose of
innovation and a set of design principles that will drive them to meet the chal-
lenges of modern product design
Contextual Design, augmented by the insights of The Cool Project, has met
these new challenges with new concepts, models, and activities needed to develop
a modern design. We hope that this discussion has provided some insight into
what these new challenges are and how they may be successfully met by the pro-
cesses our industry uses.
75
References
[1] Beyer, H. and Holtzblatt, K. Contextual Design: Defining Customer-Centered
Systems, Morgan Kaufmann Publishers Inc., San Francisco, 1997.
[2] Holtzblatt, K., Wendell, J., and Wood, S. Rapid Contextual Design: A How-to
Guide to Key Techniques for User-Centered Design, Morgan Kaufmann
Publishers, San Francisco, CA, 2005. DOI: 10.1145/1066322.1066325.
[3] Holtzblatt, K. and Holtzblatt, S. Communicating user research in order to

drive design and product decisions, in CHI 14 Extended Abstracts on
Human Factors in Computing Systems (CHI EA 14), 2014. ACM, New
York, NY, USA, 1155-1158. DOI: 10.1145/2559206.2559207.
[4] Cooper, A. The Inmates Are Running the Asylum: Why High Tech Products Drive
Us Crazy and How to Restore the Sanity, Sams Publishing, Indiana, 1997.
[5] Beck, K. and Andres, C. Extreme Programming Explained: Embrace Change, 2nd
ed., Addison-Wesley, 2005.
[6] Schwaber, K. and Sutherland, J. Software in 30 Days: How Agile Managers Beat
the Odds, Delight Their Customers, And Leave Competitors In the Dust, John
Wiley & Sons, 2012.
[7] Gothelf, J. and Seiden, J. Lean UX: Applying Lean Principles to Improve User
Experience. OReilly Media, Incorporated, 2013.
[8] Beyer, H. User-Centered Agile Methods, Morgan & Claypool Publishers, 2010.
DOI: 10.2200/S00286ED1V01Y201002HCI010.
AUTHOR BIOGRAPHIES 77
Author Biographies
Karen Holtzblatt, CEO and Co-founder of
InContext, is the visionary behind InContexts
unique customer-centered design approach, Con-
textual Design. Karens combination of techno-
logical and psychological expertise provides the
creative framework for driving the development,
innovative designs, and design processes.
Recognized as a leader in requirements and
design, Karen has pioneered transformative ideas
and design approaches throughout her career.
Most recently, Karen initiated the Cool Project
to explore users experience of cool products. The November issue of Interactions
showcases the core factors affecting the cool user experience in the cover story,
What Makes Things Cool? http://see.sc/x5v1cz3os.
Karen introduced Contextual Inquiry, now the industry standard for gath-
ering field data to understand how technology impacts the way people work.
Contextual Inquiry and the design processes based on it provide a revolutionary
approach for designing new products and systems based on a deep understanding
of the context of use. Contextual Inquiry forms the base of Contextual Design,
InContexts full customer-centered design process.
Karen co-founded InContext Design in 1992 to use Contextual Design
techniques to coach product teams and deliver market data and design solutions
to businesses across multiple industries. The books, Contextual Design: Defining
Customer Centered Systems and Rapid Contextual Design, are used by companies
and universities worldwide. As a member of ACM CHI (the association for com-
puter-human interaction), Karen was awarded membership to the CHI Academy,
78 AUTHOR BIOGRAPHIES
a gathering of significant contributors, and received the first Lifetime Award for
Practice, presented to her in 2010, for her impact on the field.
Karen has more than 25 years of teaching experience, both professionally
and in university settings. She holds a doctorate in applied psychology from the
University of Toronto.
Hugh Beyer has more than 20 years of
experience building and designing applications,
systems, and tools. He is co-founder of InContext
Design, a user-centered design firm using Contex-
tual Designs user-centered techniques to deliver
data and design solutions with client teams across
multiple industries. Hugh has designed solutions
in the automotive, health care, security, call center,
financial, and insurance industries.
Hugh provides the technical expertise and
Agile know-how behind InContexts offerings. He
works closely with clients engineering and design teams to mesh often opposing
points of view and build innovative solutions in virtually any development envi-
ronment. Hughs extensive understanding of the unique and varied capabilities
of a wide range of technical platforms enables InContext to design innovative
solutions. Hugh also works directly with InContexts design teams and coaches
client teams in the Contextual Design process. He has pioneered the integration
of customer-centered techniques into traditional development, using them to su-
percharge the Rational Unified Process, object-oriented design, and Agile. Hugh
is the co-author of Contextual Design: Defining Customer Centered Systems which
is used by companies and universities worldwide. Hughs latest publication is Us-
er-Centered Agile Methods, which bridges the gap between the Agile development
and UX communities.
Before co-founding InContext, Hugh acted as lead developer and architect
in a range of systems at Digital Equipment Corp. His domains of experience in-
clude object-oriented repositories, databases, and integrated software development
AUTHOR BIOGRAPHIES 79
environments. Since starting InContext, Hugh has overseen the design of appli-
cations from desktop to Web to mobile, and from enterprise to small business to
consumers in the wide variety of industries supported by InContext.
He holds a B.S. degree in applied mathematics from Harvard.

Holtzblatt PDF

Uploaded by

Copyright:

Available Formats

Holtzblatt PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Holtzblatt PDF

Uploaded by

Copyright:

Available Formats

Series

Human-Centered Informatics (HCI) is the intersection of the cultural, the social,

Contextual Design: Evolved

Spaces of Interaction, Places for Experience

Mobile Interactions in Context: A Designerly Way Toward Digital

Working Together Apart: Collaboration over the Internet

Surface Computing and Collaborative Analysis Work

How We Cope with Digital Technology

Translating Euclid: Designing a Human-Centered Mathematics

Adaptive Interaction: A Utility Maximization Approach to Understand-

Making Claims: Knowledge Design, Capture, and Sharing in HCI

HCI Theory: Classical, Modern, and Contemporary

Activity Theory in HCI: Fundamentals and Reflections

Conceptual Models: Core to Good Design

Geographical Design: Spatial Cognition and Geographical Information

User-Centered Agile Methods

Experience-Centered Design: Designers, Users, and Communities in

Experience Design: Technology for All the Right Reasons

Designing and Evaluating Usable Technology in Industrial Research:

Interacting with Information

Designing for User Engagement: Aesthetic and Attractive User Inter-

Context-Aware Mobile Computing: Affordances of Space, Social

Studies of Work and the Workplace in HCI: Concepts and Techniques

Semiotic Engineering Methods for Scientific Research in HCI

Common Ground in Electronically Mediated Conversation

Copyright 2015 by Morgan & Claypool

Contextual Design: Evolved

ISBN: 9781627055581 print

A Publication in the Morgan & Claypool Publishers series

Series Editor: John M. Carroll, Penn State University

Series ISSN 1946-7680 Print 1946-7699 Electronic

Karen Holtzblatt and Hugh Beyer

SYNTHESIS LECTURES ON HUMAN-CENTERED

2 Design for Life 5

3 Field Research: Data Collection and Interpretation 11

4 Consolidation and Ideation: The Bridge to Design 21

5 Detailed Design and Validation 53

Author Biographies 77

Contextual Design is team-based. It is designed to take advantage of a

This rich data is necessary if the team is to have an accurate, trustworthy

Design for Life

3.1 CONTEXTUAL INQUIRY

3.1.1 RUNNING AN INTERVIEW

Figure 3.3: Communication model fragment captured during an interview. Such

Even when designing a business product, it may be useful to discuss the

3.2 INTERPRETATION SESSIONS

In an interpretation session, the interviewer tells the story of the interview,

Consolidation and Ideation:

4.1 DATA CONSOLIDATION

Figure 4.1: Using the team room to create an immersive experience.

4.1.1 THE AFFINITY DIAGRAM

Story language presented within a meaningful structure provides designers a

4.2 CONTEXTUAL DESIGN MODELS

Contextual Design uses multiple parallel representations to show different aspects

Our principles of communication design say that designers need a way in to

Each identity element is given a descriptive name and a short summary,

identity elements specific to the planning activity; I am represents identity ele-

Personas are treated as part of consolidation in Contextual Design. (Perso-

Consolidation is a way to organize and present complicated field data so

2 Design for Life 5

3 Field Research: Data Collection and Interpretation 11

4 Consolidation and Ideation: The Bridge to Design 21

5 Detailed Design and Validation 53

Author Biographies 77