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Steps in Dawlish, Devon

Steps in Dawlish, Devon

These (pretty shallow) steps in Dawlish, Devon, have been labelled as such, presumably because without this, some visitors wouldn’t notice, and would run, cycle or wheelchair down them and hurt themselves or others. Painting a white line along the edge is a common way of improving visibility of steps, but actual labelling is fairly unusual.

There is some argument that having to label an affordance in this way, rather than it being self-evident (e.g. by making the steps deeper, or putting a handrail, or something), is ‘bad design’, but I’m not sure one way or the other: from a utilitarian point of view, enormous labelling, however ‘ugly’, is probably a surer bet than providing subtle ‘cues’. Nevertheless, the poka-yoke approach would be to design out the problem entirely: make the whole thing a full-width ramp like the section at the side.

A diagram in Bill Gaver‘s classic paper ‘Technology Affordances‘ [PDF, 647 kb] sets out very clearly the importance of an affordance being perceived as such by a user:

From 'Technology Affordances' , William Gaver

In this case we have a hidden affordance (not deliberately hidden) which has been un-hidden by the label – similar to (though not as funny as) the ‘This is a Mop Sink‘ example from Michael Darnell’s fantastic BadDesigns.com:

This is a Mop Sink (image from www.baddesigns.com)

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Ann Thorpe, author of the intriguing-sounding Designer’s Atlas of Sustainability – is pursuing an interesting investigation into design activism:

Some of the basic issues around design activism include:
# isn’t all design activism?
# how much design should be activist – aren’t designers supposed to be meeting client needs?
# are there best practices for design activism?

Low bridge, image by sarflondondunc
Low bridge in the Lee Valley, East London. Photo by sarflondondunc.

As part of this, she’s put together a very insightful article, well worth a read, Can artefacts be activists?, reviewing some of the different approaches in this area, from Langdon Winner’s discussion of Robert Moses’ low parkway bridges, to this very website:

…[O]nce designers are out of the picture, have moved on to the next job, can artifacts in themselves be activists? Can buildings, appliances, tools, or items of clothing, in themselves, lobby for change or even “force” it?

There are some worthwhile areas of debate explored in the article, especially the extent to which an artefact can embody power or discriminate, in itself, rather than simply mediating this through the way it is used or experienced. I appreciate this argument, but (coming from the point of view of a designer), I think the intent behind a design feature is critical to understanding the issue. If a bridge is intentionally made low to prevent buses passing underneath, this may well have the same practical effect as one which is simply low through an accident of history or topography, but it displays a very different attitude and philosophy on the part of the planners. Unintended consequences of design decisions – made long before products (/systems/environments) reach users – certainly have an enormous effect on almost all human-technology interactions, but not so many are actually deliberate. No design is neutral; all artefacts embody some intent, some philosophy, some outlook, even if it’s simply “manufacture this as cheaply as possible”. All design is rhetoric, a communication of values and intentions, and can be read as a social text if that’s the way you like to think of it, but with some design, those intentions are much more obviously expressed.

I look forward to seeing how Ann’s research develops – this is a very interesting area which should probably be given more attention in design school curricula in the years ahead. As more young designers “tire of designing landfill” (can’t remember if Ben Wilson first used this phrase to me, or me to him), design activism, of one form or another, is the most meaningful route forward.

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A lot of architectures of control / design with intent examples are trying to enforce what I’ve termed ‘access, use or occupation based on user characteristics’. Not all designs are especially successful at achieving that target behaviour: users will not always be persuaded, or will find ways to avoid being coerced.

Mud, footpath, cycles and kissing gate

Bicycles can churn up the surface of footpaths…

Mud, footpath, cycles and kissing gate

…You can put up signs to tell cyclists not to do it…

Mud, footpath, cycles and kissing gate

…or you can put in gates (kissing gates as they’re known in the UK) to try to stop them (along with livestock)…

Mud, footpath, cycles and kissing gate

…but it doesn’t mean anyone will take any notice!

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Continued from part 2

This series is looking at what design techniques/mechanisms are applicable to guiding a user to follow a process or path, performing actions in a specified sequence. The techniques fall roughly into three ‘approaches’. In this post, I’m going to examine the Poka-yoke approach. If you’ve been following the previous posts, you’ll probably have thought, “Well, all that’s pretty obvious.” And it is obvious – we encounter these kinds of design techniques in products and systems every day – but that’s part of the point of this bit of the research: understanding what’s out there already.

Poka-yoke approach

The mechanisms described in this approach are all based on technical (rather than explicitly human) factors, and involve designing the relationships between system elements.

Poka-yoke (Japanese: mistake-proofing) is an approach usually applied in manufacturing engineering, developed by Shigeo Shingo in the context of developing ‘zero defect’ assembly processes. The idea is to avoid slip-type errors by designing systems which prevent them occurring, prevent a user proceeding until the error condition has been rectified (control poka-yokes), or at the very least clearly warn the user of the error condition (warning poka-yokes).

Generally, when the design intent is for the user to follow a process or path in a specified sequence, a deviation from that sequence can be considered as an error, and thus the poka-yoke approach can be applicable outside its original field. Similar concepts, forcing functions, have been developed in interaction design, especially in the work of Donald Norman – the three main forcing function mechanisms, Interlock, Lock-in and Lock-out, broadly correspond to Shingo’s control poka-yoke category; all can help in assisting (or forcing) users to follow a process or sequence. In the warning poka-yoke category, the Arrangement detection mechanism is most relevant to this behaviour.

Interlock

An Interlock combines elements of both lock-ins and lock-outs (see below), and is probably the most familiar forcing function mechanism: the ability to use one function is dependent on another running or being started, another component (such as a guard) being in place, or some other condition being fulfilled.

Toyota Verso clutch-ignition interlockToyota Verso clutch-ignition interlockToyota Verso clutch-ignition interlock
Example: This Toyota Verso requires the clutch pedal to be depressed before the starter button will operate, to reduce the risk of starting in gear.

Car ignitions which cannot be operated unless the driver’s seat belt is fastened – a system originally promoted as ‘Interlock’ in the US – microwave ovens not operating unless the door is closed, and airline or train toilets where the lighting does not operate until the user has locked the door, are some of the highest profile everyday examples, but the principle of the interlock is extremely common in engineering and manufacturing industry, often in the context of a machine tool which will not start until a guard is in place, or where opening the case automatically cuts the power.

Interlocks are often specified when it is imperative – rather than merely desirable – that a user follow a particular sequence, or at least two steps of a sequence, in exactly the right order, but their use need not be limited to critical safety design problems. Ecodesign applications might include (for example) a car’s air conditioning system requiring the windows to be fully closed before operating, or a sink requiring the plug to be in before the tap can be left in a ‘running’ position.

Microwave oven door interlockMicrowave oven door interlock
Example: The ubiquitous interlock on a microwave oven ensures that the door is closed before the oven will start.

Lock-in

The Lock-in mechanism in this context (rather than an economic one) refers to a system arranged such that a process, procedure or operation is kept active – the user can’t exit the operation until a certain condition is met, or the ‘correct’ next step is taken. This can be implemented using sensors, logic processing, physical architecture, or a number of other ways.

As Norman puts it, this prevents “someone from prematurely stopping” an operation – this could mean letting some ongoing process run its course to completion before starting the next, or denying the user access to another function which might interfere with the current process. It can also prevent accidental cancelling of an operation – inadvertent deviation from a specified sequence – by introducing an extra ‘confirmation’ step.

Confirmation dialogue
Example: The confirmation dialogue displayed by some software when a user attempts to exit can be seen as a lock-in to prevent inadvertent ending of the application.

Lock-out

Lock-out is closely related to Lock-in: in this case, the mechanism makes it difficult or impossible for the user to start certain operations, or denies or impedes access to particular areas or functions. In the context of encouraging or forcing a user to follow a path or process in a specified sequence, a lock-out helps prevent inadvertent or mistaken steps in that sequence. It can also help prevent an operation being started too early in the sequence, and may also be implemented as an extra ‘confirmation’ step.

Lock-out dialogue
Example: This file backup application prevents a user modifying the properties of a scheduled backup task while it is running – ensuring that the correct sequence is followed.

Arrangement detection

Arrangement detection is a ‘warning’ rather than ‘control’ poka-yoke mechanism, and may be considered as a ‘feedback’ analogue of interlocks, lock-ins and lock-outs – providing a warning (audible, visual, tactile) when system elements are incorrectly arranged (physically or procedurally).

Arrangement detection is about warning the user that the path or process is occurring in an incorrect sequence, rather than actually forcing the user to follow the correct sequence. While there are a number of possible warning poka-yoke mechanisms alerting users to incorrect behaviour, arrangement detection is most relevant to the specific issue of sequencing.

Seatbelt warning
Example: The seat belt warning on car dashboards (in this case a Fiat Punto) is an arrangement detection poka-yoke, providing a visual (and often also audible) alert that a belt is not buckled while the engine is running, or the car is moving.

In part 4, we’ll look at the Persuasive Interface approach to getting someone to do things in a particular order.

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Continued from part 1

Suggested mechanisms

These are the suggested mechanisms applicable to User follows process or path, performing actions in a specified sequence – they fall roughly into three ‘approaches’. In this post, I’m going to examine the System element approach.

System element approach

This approach includes mechanisms relating to the layout and properties of system elements, hence all technical rather than human factors.

Placing, Spacing and Orientation – how system elements are laid out – are some of the most fundamental mechanisms a designer can employ to help a user to follow a process or path in the intended sequence, and can be used both in the ‘real’ world and, as metaphors, in software. Movement or oscillation, as an ‘action’ property of system elements, which may involve changing their placing/spacing/orientation, can also be used to help achieve similar aims.

Placing

Placing may be implemented as simply as arranging interactive elements (functions, buttons, shops, products on shelves – effectively, anything) in sequence so that a user interacts (sees / notices / experiences / uses) them in the ‘right’ order. This might involve actually hiding one element behind another so that the first ‘must’ be dealt with before progressing to the next (or only displaying the second element once the first has been dealt with), but often this is not necessary: users will tend to interact with elements in a predictable sequence, at least where it is clear which direction the sequence is meant to progress (compare reading directions in different alphabets, for example, and the effect this has on the layout of interfaces).

Amazon's order process reveals elements in sequence
Example: The elements of Amazon’s order process, revealed to the user in sequence

Placing can also involve arranging (non-interactive) elements to ‘channel’ users along a path in an intended sequence – walls, fences and guard rails are obvious architectural examples, but there are more subtle ones too, such as the layout of some casinos in which winners are ‘funnelled’ past many lures on their way to a single cashier.

Guard rails to channel pedestrians
Example: Guard rails are placed to channel pedestrians away from crossing at the mouth of a road junction

Spacing

Spacing – deliberate separation of system elements in space – can also be used strategically to cause users to follow a path or sequence of operations or interactions. For example many supermarkets are laid out with common items such as milk and bread at the back of the store, meaning that shoppers pass many other shelves of items (with potential for impulse purchase) on the way to their ‘target’, and on the way back to the checkouts at the front of the store.

Spacing can also be used to cause users to follow procedures requiring a delay between performing operations – the ‘on’ switch for a lathe may be spaced far enough away from the chuck that it is impossible for the operator’s fingers to be in a dangerous position as the device is switched on. Along similar lines, spacing light switches for different parts of a corridor or stairway apart so that they must each be switched on in sequence individually when needed (rather than allowing users to switch them all on at once) may reduce unnecessary electricity use.

Dairy section drives traffic to rear of supermarket
Example: Dairy items are often positioned to drive traffic to the rear of a supermarket. Image from wander.lust

Orientation

Orientation is necessarily related to placing and spacing – the relative angle or attitude of system elements can be used as a mechanism for encouraging or channelling users to follow a path or perform actions in sequence. A trivial example is the use of angled walls to ‘funnel’ pedestrians along a particular path. It can also be used to cause users themselves to change their orientation in response, where this is part of an intended sequence of user behaviour – the staggered pedestrian crossings which make sure users turn to face the direction of oncoming traffic, as mentioned in Part 1, use the changing orientation of the walkway to change users’ orientation.

Pedestrian crossing staggered to cause users to face oncoming traffic
Example: A staggered pedestrian crossing designed so that users face oncoming traffic. Image from the UK Highway Code.

Movement or oscillation

Movement or oscillation may involve changing the placing/spacing/orientation of system elements, and can be applied in a physical or metaphorical sense. A moving indicator which guides the user through a process or sequence, or indeed, brings system elements which require interaction to the user (or routes them past), encourages (or forces) following procedures in the ‘right’ order.

Consider this mechanism as a dynamic implementation of placing/spacing/orientation: it has the potential to control much more fully the order in which users are exposed to objects or functions. The most obvious examples are conveyors on production lines, bringing components or products to stationary workers in the right sequence, but even museum exhibits such as the Crown Jewels may be displayed in a rotating or constantly moving case, which displays them to visitors in a certain order and reduces the possibility of undesired interactions.

Conveyor brings items to user in the right sequence
Example: A conveyor (such as this on a Krispy Kreme doughnut preparation line) brings products or components to workers in the right sequence. Image from Silversprite

In part 3, we’ll look at the Poka-yoke approach to getting someone to do things in a particular order.

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Ballardian

Over at the brilliant Ballardian, editor Simon Sellars has just published my article ‘J.G. Ballard & Architectures of Control‘, where I take a brief look at how Ballard’s work repeatedly examines ‘the effect of architecture on the individual’ – something central to both the physical and psychological aspects of my research. Many thanks are due to Simon for giving me the opportunity to write for this (very knowledgeable) audience, and I hope I’ve done the subject justice.

Surveillance cameras hung like gargoyles from the cornices, following me as I approached the barbican and identified myself to the guard at the reception desk… High above me, fluted columns carried the pitched roofs, an attempt at a vernacular architecture that failed to disguise this executive-class prison. Taking their cue from Eden-Olympia and Antibes-les-Pins, the totalitarian systems of the future would be subservient and ingratiating, but the locks would be just as strong.

Super-Cannes, chapter 15.

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