A couple of weeks ago, at dConstruct 2011 in Brighton, 15 brave participants took part in my full-day workshop ‘Influencing behaviour: people, products, services and systems’, with which I was very kindly assisted by Sadhna Jain from Central Saint Martins. As a reference for the people who took part, for me, and for anyone else who might be intrigued, I thought I would write up what we did. The conference itself was extremely interesting, as usual, with a few talks which provoked more discussion than others, as much about presentation style as content, I think (others have covered the conference better than I can). And, of course, I met (and re-connected with) some brilliant people.
I’ve run quite a few workshops in both corporate and educational settings using the Design with Intent cards or worksheets (now also available as a free iPad app from James Christie) but this workshop aimed to look more broadly at how designers can understand and influence people’s behaviour. This is also the first ‘public’ workshop that I’ve done under the Requisite Variety name, which doesn’t mean much different in practice, but is something of a milestone for me as a freelancer.
In the previous post I outlined what I had planned, and while in the event the programme deviated somewhat from this, I think overall it was reasonably successful. Rather than using a case study (I feel uneasy, when people are paying to come to a workshop, to ask them effectively to do work for someone else) we ran through a series of exercises intended to explore different aspects of how design and people’s behaviour relate to each other, and perhaps uncover some insights which would make it easier to incorporate a consideration of this into a design process.
Whether we choose to do it or not, what we design is going to affect how users behave, so we might as well think about it, and—if we can—actually get good at it. Bridging the gap between physical and digital product design, a systems approach can help us understand how people interact with the different touchpoints they experience, how mental models and cognitive biases and heuristics influence the way people make decisions about what to do, and hence how we might apply that knowledge (for good).
In this full-day practical workshop, we’ll try a novel approach to design and behaviour, using ourselves as both designers and cybernetic guinea pigs in exploring and developing a combination of physical and digital experiences. You’ll learn how to improve your own decision-making and understanding of how your behaviour is influenced by the systems around you, as well as ways to influence others’ behaviour, through a new approach to designing at the intersection of people, products, services and systems.
So what will the day actually involve? (You’re entitled to ask: the above is admittedly vague.) I’ve run quite a lot of workshops in the last couple of years, mainly using the Design with Intent toolkit in one form or another to help groups generate concepts for specific behaviour change contexts, but this one is slightly different, taking advantage of a full day to explore more areas of how design and behaviour interact, in a way which I hope complements dConstruct’s overall theme this year of “bridging the gap between physical and digital product design” usefully and interestingly. Also, the concept of ‘design for behaviour change’ is probably no longer new and exciting (at least to the dConstruct audience) in quite the way it might have been a few years ago: a more nuanced, developed, thoughtful exploration is needed. We’ll be using some of the Design with Intent cards throughout the workshop, but they’re not the main focus.
My plan is for the workshop to have four stages (3 shorter ones in the morning, 1 longer one for the afternoon): Continue reading →
The Fun Theory (Rolighetsteorin), a competition / campaign / initiative from Volkswagen Sweden – created by DDB Stockholm – has been getting a lot of attention in the last couple of weeks from bothdesign-related people and other commentators with an interest in influencing behaviour: it presents a series of clever ‘design interventions’ aimed at influencing behaviour through making things “fun to do” – taking the stairs instead of the escalator, recycling glass via a bottle bank and using a litter bin. The stairs are turned into a giant piano keyboard, with audio accompaniment; the bottle bank is turned into an arcade game, with sound effects and scores prominently displayed; and the litter bin has a “deep pit” effect created through sound effects played as items are dropped into it. It’s exciting to see that exploring design for behaviour change is being so enthusiastically pursued and explored, especially by ad agencies, since – if we’re honest – advertisers have long been the most successful at influencing human behaviour effectively (in the contexts intended). There’s an awful lot designers can learn from this, but I digress…
As a provocation and inspiration to enter the competition, these are great projects. The competition itself is interesting because it encourages entrants to “find [their] own evidence for the theory that fun is best way to change behaviour for the better”, suggesting that entries with some kind of demonstrated / tested element are preferred over purely conceptual submissions (however clever they might be) which have often been a hallmark of creative design competitions in the past. While the examples created and tested for the campaign are by no means “controlled experiments” (e.g. the stats in the videos about the extra amount of rubbish or glass deposited give little context about the background levels of waste deposition in that area, whether people have gone out of their way to use the ‘special’ bins, and so on), they do demonstrate very well the (perhaps obvious) effect that making something fun, or engaging, is a way to get people interested in using it.
Going a bit deeper, though, into what “the theory of fun” might really mean, it’s clear there are a few different effects going on here. To use concepts from B J Fogg’s Behaviour Model, assuming the ability to use the stairs, bottle bank or bin is already there, the remaining factors are motivation and triggers. Motivation is, on some level, presumably also present in each case, in the sense that someone carrying bottles to be recycled already wants to get rid of them, someone standing at the bottom of the stairs or escalator wants to get to the top, and someone with a piece of litter in her hand wants to discard it somehow (even if that’s just on the ground).
(But note that if, for example, people start picking up litter from elsewhere in order to use the bin because they’re excited by it, or if – as in the video – kids run up and down the stairs to enjoy the effect, this is something slightly different: the motivation has changed from “I’m motivated to get rid of the litter in my hand” to “I’m motivated to keep playing with this thing.” While no doubt useful results, these are slightly different target behaviours to the ones expressed at the start of the videos. “Can we get more people to take the stairs over the escalator by making it fun to do?” is not quite the same as “Can we get people so interested in running up and down the stairs that they want to do it repeatedly?”)
So the triggers are what the interventions are really about redesigning: adding some feature or cue which causes people who already have the ability and the motivation to choose this particular way of getting out of the railway station to the street above, or disposing of litter, or recycling glass. All three examples deliberately, prominently, attract the interest of passers-by (“World’s deepest bin” graphics, otherwise incongruous black steps, illuminated 7-segment displays above the bottle bank) quite apart from the effect of seeing lots of other people gathered around, or using something in an unusual way.
And once they’ve triggered someone to get involved, to use them, there are different elements that come into play in each example. For example, the bottle bank – by using a game metaphor – effectively challenges the user into continuing (perhaps even entering a flow state, though this is surely more likely with the stairs) and gives feedback on how well you’re doing as well as a kind of reward. The reward element is present in all three examples, in fact.
I suppose the biggest and most obvious criticism of projects such as the Rolighetsteorin examples is that they are merely one-time gimmicks, that a novelty effect is the most (maybe only) significant thing at work here. It’s not possible to say whether this is true or not without carrying out a longitudinal study of the members of the public involved over a period of time, or of the actual installations themselves. Does having fun using the stairs once (when they’re a giant piano) translate into taking the (boring) normal stairs in preference to an escalator on other occasions? (i.e. does it lead to attitude or preference change?) Or does the effect go away when the fun stairs do?
It may be, of course, that interventions with explicitly pro-social rhetoric embedded in them (such as the bottle bank) have an effect which bleeds over into other areas of people’s lives: do they think more about the environment, or being less wasteful, in other contexts? Have attitudes been changed beyond simply the specific context of recycling glass bottles using this particular bottle bank?
How others have done it
This campaign isn’t the first to have tried to address these problems through design, of course. Without researching too thoroughly, a few pieces of work spring to mind, and I’m sure there are many more. Stephen Intille, Ron MacNeil, Jason Nawyn and Jacob Hyman in MIT’s House_n group have done work using a sign with the ‘just-in-time‘ message “Your heart needs exercise – here’s your chance” (shown above) positioned over the stairs in a subway, flashing in people’s line-of-sight as they approach the decision point (between taking stairs or escalator) linked to a system which can record the effects in terms of people actually making one choice or the other, and hence compare the effect the intervention actually has. As cited in this paper [PDF], previous research by K D Brownell, A J Stunkard, and J M Albaum, using the same message, in a similar situation, but statically displayed for three weeks before being removed, demonstrated that some effect remains on people’s choice of the stairs for the next couple of months. (That is, the effect didn’t go away immediately when the sign did – though we can’t say whether that’s necessarily applicable to the piano stairs too.)
Work on the design of recycling bins is, I think, worthy of a post of its own, since it starts to touch more on perceived affordances (the shape of different kinds of slots, and so on) so I’ll get round to that at some point.
Following on from Part 1, here are a couple more very interesting student projects linking design and behaviour. This time, both involve providing feedback on the impact or costs of everyday behaviours in order to get people to think.
Tim Holley’s Tio project, developed in response to a brief by Onzo, and described as ‘A Light Switch to Help Children Save Energy’ – deservedly won the HSBC Sustainability Prize at the Made in Brunel show:
“Children play a key role in reducing energy consumption due to the fact that they will be among the key decision-makers in the next 30 years. A simple way to engage and educate them is to concentrate on lighting, which accounts for up to 15% of electricity use in the home. The target market for Tio is 7-11 year-olds. This coincides with a period in primary education during which children begin to learn about the environment, energy and the effects that humans are having on the world. Tio [...]allow[s] children to demonstrate their knowledge of energy conservation to their family and encourage their role as ‘energy champions’ of the home. Tio has the potential to reduce lighting-use by up to 25%, resulting in an energy saving of up to 11% over a five year period…
The wall-mounted light switch[...] controls the lighting in the child’s room. Tio is soft and tactile, thus encourages user interaction. The character of ‘Tio’ displayed on the light switch encourages children to turn their lights off: Tio is happy when the lights have only been on for a short period of time. The longer they are left on, the angrier he becomes. This acts as an emotional reminder to turn the lights off…
The recommended ‘lights-on time’ is influenced by the child’s age, their daily activities and the time of day. [...] Information (‘lights-on’ time) is sent wirelessly from the wall switch to a computer. The computer programme allows the child to track their lighting-use performance over an extended period of time. The child takes care of a ‘virtual tree’ by moderating their lighting-use performance. This engages children to make a personal contribution to reducing energy consumption.”
There are some clever ideas in there, including pester-power (“Make sure your parents turn off their lights too”) and, from a Design with Intent toolkit point of view, some of the patterns you might be able to identify include affective engagement, self-monitoring, material properties and metaphors. There’s some neat product detailing too, such as the way Tio’s expressions are formed by different patterns of LEDs being illuminated under the translucent case.
Tim was a very useful and insightful tester of an earlier version of the Design with Intent toolkit back in autumn 2008 (as part of the pilot study reported in this co-authored paper [direct PDF link]) so it’s great to see his project get such recognition. He’s now working for Onzo in product R&D strategy and has some exciting and ambitious plans for the future: as a very talented young designer bringing together creative user-centred design and technology expertise with an eye for business strategy, I’m sure Tim will go far.
Across London at Goldsmiths, Alexander Kirchmann’s ‘Lehman’s Inheritance’ project aims “to create and design products, that can help an individual to manage the [economic] crisis” such as this pint glass with cost markings (right). As Alexander puts it, “my products are the inheritance of the crash… By exposing people to their spending and also to their earnings my design is saving the owner money.”
This is an incredibly simple project (at least the example that’s illustrated – I’d be interested to know what other products Alexander modified / created). But the impact of exposing costs in this way – self-monitoring without any special equipment – could be very effective. In some of the recent workshops I’ve run with designers and students, similarly low-tech feedback concepts have been suggested for problems such as reducing water wastage (sinks with scales marked on them) and reducing overfilling of electric kettles.
I’ve come across some interesting student projects at various shows and exhibitions this summer, some of which address the relationship between design and people’s behaviour in different situations, and some of which explicitly aim to influence what people do and think. Here’s a selection (Part 2 and Part 3 will follow).
Jasmine Cox‘s Displacement Engine (Dundee) is “a navigational compass which gives you a little extra push to break away from routine, to wander the unexplored route… By pulling the slider closer and pushing it further away, the user learns to relax the need to be heading in an absolute direction. It allows the experience of a place and an outdoor space to absorb and distract them.” The variability of the GPS signal means that the device perhaps won’t always be ‘reliable’ – again, leading the user to explore and think for him or herself rather than being able to trust the device entirely. As Jasmine says here, it’s somewhere between a sat-nav and dérive.
The question of how much the paths and routes we take (physically and in whatever metaphorical way you can think of) are controlled, or at least influenced, by what maps, devices, signs, etc are telling us is something that I’ve touched a few times with this blog over the years (e.g. here). Practical semiotics as wayfinding decision-making heuristics, maybe. As someone who grew up obsessively poring over maps and atlases, memorising road networks and coastlines, trying to visualise these unknown places (and drawing plenty of my own), I’m fascinated by the possibilities of sat-navs and navigational devices which structure our choices for us (as Adam Greenfield notes, perhaps even removing routes we ‘don’t want to be walking down’), even though (in practice) I very much dislike using them, and it horrifies me to become reliant on them. I’ve had the “ROAD ENDS 800 FEET” sign looming at me out of the night after following a calm voice’s directions down a canyon track somewhere off Mulholland Drive. I’ve also spent happy afternoons driving across the Fens with a scruffy, annotated Philip’s Navigator on my lap and no purpose in mind other than seeing interesting places, and I know which I prefer. Jasmine’s project helps bridge that divide a bit, or at least twist it in a new and intriguing direction.
Jasmine’s blog chronicling the development process is interesting, too: it’s a great insight into the thought processes of how a project like this actually gets done, the decisions made at different stages, and how contingent the result is on conditions, insights and ideas earlier on. I expect something like this helps quite a lot with writing up a major project, though I know I always wrote the development story for my projects right at the end, when the various dead-ends and mistakes could be woven and re-ordered into something that sounded more professional, or so I hoped.
Intended to encourage people to drink more water while out shopping or walking, without buying bottled water (and throwing away the bottle each time) Source by Oliver Craig (Loughborough) is essentially a modern take on the public water fountain (which has disappeared in many areas of the UK – how many new shopping centres include them?), combining it with the convenience of bottled water: using special bottles filled via a valve in the base, pedestrians could get free filtered tap water from a network of fountains, positioned at the entrances to participating stores who would also sell the bottles. Re-using the bottles earns the user points which can be spent in the participating stores.
Ravensbourne’s Kei Wada‘s How Long? Door Knob and Tag, along with his Whose Turn? Bottle Opener address behaviours in a shared environment such as a student house, applying design to ‘bad habits’. The Bottle Opener (right, below) “is a playful bottle opener that can be spun to help make decisions” such as who has to take the rubbish out, or buy milk, in the format of an object associated with parties and fun (whether this would increase or decrease the likelihood that housemates adhere to the ‘decision’, I don’t know!).
The Door Knob and Tag (left and middle, below) are timers for bathroom or shower doors – the knob is a replacement knob / lock for the door itself, while the tag can be hooked over the handle without actually enforcing a ‘lock’. But the principle is the same: “inspired by the annoying occurrence of never knowing how long flatmate will take in the shower. The person who takes the shower sets the timer when he/she locks the door, so the other housemates do not have to knock on the door and disturb their ablutions. When time is up, it rings to let the housemates know the room is vacant.” I particularly like Kei’s statement that “the act of setting the timer now becomes an extension of the motions involved in locking the door” – whether or not this kind of action (which requires prior thought in terms of deciding how long to set it for) could become an unconscious habit or not would be interesting to study.
Aside from annoying your housemates less, the timers could also work to reduce water and energy usage, in terms of time spent in the shower: if the alarm ringing sound were annoying or loud enough to make it socially unacceptable to spend too long in there, then this is a kind of socially enforced shower timer.
Following last week’s card-sorting exercise (which went really well – thanks to everyone who took part), here’s something a bit more open-ended and ongoing.
I’m trying to find out how designers and design teams (in-house or consultancies) who’ve worked on influencing user behaviour think about what they’ve done – which techniques and patterns do people recognise that they’ve used, or considered? Do the patterns I’ve identified in the toolkit actually make sense to people who’ve put this stuff into practice strategically? Or do people think about it differently?
So, if you’ve worked on persuasive technology, behaviour change design, or influencing user behaviour in general, across any field where you consider that you’re designing stuff (service design, product design, interaction design, social design, user experience, information architecture, HCI, social marketing, mobile interaction, web design, network engineering, pervasive/ubiquitous computing, transformation design, advertising, urban planning, human factors, ergonomics, built environments, healthcare, environmental, safety, crime prevention – anything, in fact), I’d really appreciate it if you could spare a few minutes to have a go at this survey. It shouldn’t take too long unless you have a lot to tell me about!
‘Designers thinking about the effect they can have on behaviour‘ is a growing theme. The idea with this survey is that if we can collect together some good examples of where and how companies are using these ideas, what’s worked and what hasn’t (and why) (where you’re prepared to talk about it!), it’ll be a useful reference for everyone, as well as (potentially) a series of great case studies to be included in a book (at some point once my PhD’s out of the way). In the meantime, I’ll of course try to feature some of the projects on the blog.
If you take part in the survey, your details will go into a draw to win a classic book on design and behaviour (I’ll do one draw for every 20 participants). I’m not sure what the books will be yet, but there’s a lot to choose from. The survey doesn’t really have a closing date at present – I’ll leave it open as long as it’s getting interest.