MICHAEL CHAPMAN: Thanks Hal, for bringing this project to us.I think we're all really excited about understandingthe way people are collaborating around the centerconsole in vehicles.I think, actually, there's a lot of different directionsthat we can take to try to explore this.
MICHAEL CHAPMAN: Hello my name is Michael Chapman.I am a Senior Research Lead here at IDEO.I've been with IDEO roughly nine years.We're a design consultancy.We go full spectrum from helping our clients understand areasthat they may not even be sure where to play in,all the way through to developmentand coming up with ideas that are really trying to solve
MICHAEL CHAPMAN [continued]: problems for their customers.We're a very human centered design company.That means we start with really tryingto understand the needs that people have,understanding the way that context environment fitswithin that, and then from there,building out design which can takethe form of physical products, digital products,environmental, which means buildings or interiors, as well
MICHAEL CHAPMAN [continued]: as services.What makes IDEO different from a lot of the other designcompanies that are out there, or a lotof the other consultancies that are out there,are a couple of fold.First and foremost, we truly believein human centered design, not just as an approach,but also as a philosophy.So we are always thinking about the different types
MICHAEL CHAPMAN [continued]: of consumers, what their needs are, and how we can reallyunderstand their entire lifestyle and the waythey want to live their life.I think the second thing that sets us apart is we neverhand off between the research, and the design,and the iteration.We do not only wrap it iterating,which means constantly trying to evolve our process,
MICHAEL CHAPMAN [continued]: but we are a cohesive team when we are on a project.So not only am I doing the research,but a designer or multiple designerswill be with me in the field.And when we go to the synthesis and the idea generation,I am part of that as well.Therefore it's a seamless transitionfrom understanding all the way through to building,and then recreating and continuing
MICHAEL CHAPMAN [continued]: to iterate the process.Ethnography really comes from the practiceof the social sciences.In particular, my background is an anthropologist.It's really a tool that helps the practitioner understandthe culture or the situation thatdescribes a particular type of culture or individual.The way we practice it in applied anthropology or applied
MICHAEL CHAPMAN [continued]: ethnography is a little bit different than what itmight be in the academic world.In the academic world, we tend to choose or situate ourselveswith a particular group of people,a culture, or subculture, and understand everythingabout them whether it's kinship, whether it's tools,stuff like that.In applied design work, we take slightly separate approach,
MICHAEL CHAPMAN [continued]: although a same fundamental sort of technique.Rather, a client will come to us and they'll have a question,say, about understanding what is the future of travel?Or what is the future of navigation in cars?So instead of looking at a cultureand saying what's common about that, whatwe do is we start with the topic area, often times we will sort
MICHAEL CHAPMAN [continued]: of push our clients to make sure they're thinkingabout the actual problem rather than whatthey think the problem might be, but thenwe look for people that are experiencing itacross multiple types of culturesor groups or communities.But the commonality is their approachor their appreciation of the theme that we're studying.Ethnography in the private sector
MICHAEL CHAPMAN [continued]: is used to help our clients understand their consumersat a deeper level than a typical focus group or even a surveywill be able to illuminate.We use it at IDEO not only to help figureout what's going on in the world, but as designinspiration so our designers can meet firsthand and understandand really empathize with the type of population
MICHAEL CHAPMAN [continued]: they want to be designing for.I know that we're interested in the center consoleand the way people are kind of collaborating around ittogether, so I think that means we'regoing to want to talk to people, obviously,who have two people in the car.But I think it would be also interesting to tryto recruit some people that maybe only drive by themselves,so they don't actually have to collaborate,and see if that changes the way they interact with the console
MICHAEL CHAPMAN [continued]: itself.So if you're doing an ethnographic researchstyle about cars, for example, you'dwant to understand all the ways that carscan fit into someone's life.However, it's actually taking a step back.Anthropology, as a practice, is about understandingmore than just one moment in time,it's about understanding the complex system.
MICHAEL CHAPMAN [continued]: If a client were to come to us and ask us to understand, say,the future of cars.While we want to focus on that, we alsowant to go out in the field and talk to people about howare they thinking about transportation, especiallydaily transportation, overall.How do cars fit into their lives?In addition to public transportation,
MICHAEL CHAPMAN [continued]: bikes, walking, other forms of commuting.We also want to understand where does the car live?In their house, or in front of their house?How do they decide to use one mode of transportationover another?So in terms of an ethnographic approach,while we're going to be always centeredin trying to solve for our clients a car based solution,
MICHAEL CHAPMAN [continued]: the only way for us to do that isto really appreciate and understand the larger contextthat cars live within in someone's mind.Conducting an ethnographic study is comprised of several steps.The very first thing that we need to understandis working with the team and with the client, whatreally is the objective?
MICHAEL CHAPMAN [continued]: We have to make sure we frame the problem upproperly, because we can put a lot of resources and dedicationinto understanding something, but if that's not actuallythe problem that we're solving for,it might be the best solution that's not solving a problem.So what we then try to do is, once we'vecome to terms with the client and the teamabout what we want to learn, is webegin to think about what are all the different types
MICHAEL CHAPMAN [continued]: of vectors, people, attributes-- in particular mindsetsand behaviors-- that we want to understand that will helpus create a complete picture.In academic ethnography, you might have six months or a yearto live with a population.In applied anthropology, we have maybe eight weeksto go from completely understanding something
MICHAEL CHAPMAN [continued]: all the way through to designing it.So it's a much more truncated process,which means we need to be that much moreefficient upfront about thinking who we want to speak with.Typically, we'll create a white board and begin to sort out.If it's for cars we probably want a couple peoplethat are new car owners, a couple people thatare loyalists to a particular brand, a couple people that
MICHAEL CHAPMAN [continued]: have different family lifestyles so maybe theyneed to take kids, other people that do long commutes,short commutes.We'll spread a large list to understandthe different motivations and behaviorsthat people have in terms of purchasing and using a vehicle.After that, we begin to winnow it down.So we'll actually create a screener and recruit people.Because we don't have very much time to do this,
MICHAEL CHAPMAN [continued]: and because we're going really deep when we're talkingto people, spending upwards of half a day per individual,we want to make sure we're talking to the right people.Which means that we might have an entire project where,for the exploratory part of the research--the ethnographic side of the research--we might only speak to eight to 12 people,but we really get to know them betterthan we've been told sometimes even their spouses know them
MICHAEL CHAPMAN [continued]: on that particular topic.Once we have all of that planned,then we have to figure out timing and where'sthe best places to go in order to actually createthe research.So it might be deciding are there geographical differences?Are there other considerations we want to take into effect?Then finally we do the recruitment,and we go spend upwards of half a daywith people in their homes, driving along with them if it's
MICHAEL CHAPMAN [continued]: a car project, understanding the way theymight run particular errands.We've even gone not only on drive alongs, where they'lltake us over a course of their typical commute,we've actually gone car shopping with peopleto understand the way they are thinking about their purchaseintent and what are the factors that are important,which might also include online research,talking to dealerships, looking at newspaper ads,
MICHAEL CHAPMAN [continued]: all of the above.The more that we can understand their worldview,the better it is that we can design somethingthat's actually satisfying not whatpeople say they think they want, but whatthey're actually doing.At the end, success is not about coming upwith a lot of ideas, or even a one idea that looks really goodand might win an award, it's a really about coming up with
MICHAEL CHAPMAN [continued]: something based off of the research that's makingpeople's lives better somehow.At the beginning, we start with a kickoff meetingwhere we do some of the project planning and research scopingto make sure that we are all aligned,that we're going to be talking to the right people,and that our objectives are working togetherto make sure we can come up with the right approachto solve the right problem.I think though, that overall, looking at some of these,
MICHAEL CHAPMAN [continued]: I'm going to guess probably 10 to 12 people across a coupleof geographies should be enough to really getinto the drive alongs and get some really rich data for you.
SPEAKER 1: Would it makes sense to do the drivealongs with the same person at different points of their day?Commuting to work, and then also seeingwhat they would be doing when they're going on a night out?
SPEAKER 2: Yeah, I think that makes sense.
MICHAEL CHAPMAN: So when we have a planning meeting,typically it's a couple of representativesfrom the client's side, as well as the team thatwill be running the project.And what we're trying to figure out from the outsetis what does the client really need to know, or want to build,to be successful?So for example, a client may come to us and say,
MICHAEL CHAPMAN [continued]: we want to build the next high efficient car.Which is great.That's a very explicit design outcome.As a researcher, we might really beinterested in a slightly different question.Which might be more along the lines of,why do people care about high efficiency cars to start with?Or better fuel efficient cars to start with?
MICHAEL CHAPMAN [continued]: And through the course of this conversation,we can begin to land on what is the design intent versus whatis the research intent.Once we've landed on the research intent,keeping the design intent in our back pocket,we'll begin to white board out whoare the different respondents or type of peoplethat we want to speak with?That will enable us to really understand and capture
MICHAEL CHAPMAN [continued]: a wide variety of types of people in enough detailthat we will have confidence when we come up later doinginsights or doing synthesis to say we believe in something,and we have credibility in what we believe in thatwill lead to the design.
SPEAKER 3: Another thing we could dois actually some remote monitoring,where we have cameras in the cars that follow people aroundthroughout the day.Because sometimes when you have people sitting next to you,you might drive a little differently.So that way we capture actually more data over time,and more user behaviors.
SPEAKER 2: I like that because, since our observationnumbers aren't really large, at least wecan get a lot of richness out of those-- out of all the datawe collect if we're able to extend that way.
MICHAEL CHAPMAN: So I think if we'reable to hit a couple of these different locations,along with some of these different types-- probably10 to 12 people-- we should be able to getenough rich information to really come up with somethinggood for our synthesis.But it sounds like we have a pretty good plan in place.So the next step will be to start the recruitmentand hopefully hit the field in the next two weeks.
MICHAEL CHAPMAN [continued]: So after we complete the planning meeting and we startthe fieldwork, we typically meet somebodyat their home to understand the way they're living their lifeand the way their car fits into it.We don't want to jump right into the car itselfimmediately, because it's helpful for usto understand the way they contextualize it,the way they think about it, and we want them to feel at ease.
MICHAEL CHAPMAN [continued]: We need to spend some time building rapport,because we only have one opportunity to really getthe truth from somebody.We never want them to be telling us whatthey think we want to hear.So it's important to spend a little bit of time just gettingto know them.It's also equally important because as we get into the carand have them do particular tasksor observe them driving their commute
MICHAEL CHAPMAN [continued]: or doing particular things, we needto be able to contextualize it into the way they'reliving their life.So for example, if we go to their houseand we see that they have lots of kids,that's good knowledge for us to have if we get into the carand it's very clean, because now we might ask questions.Are your kids allowed in the car?Well, your car seems awfully clean for havinga couple of toddlers.
MICHAEL CHAPMAN [continued]: What do you do to clean the car?So things that we might not otherwise know.Once though we're in the car, what we want to be able to dois spend as much time as possiblewith people doing the activities that we're engagedin trying to learn about.Which means actually driving the car.Depending on the particular circumstanceand what we're trying to learn specifically,
MICHAEL CHAPMAN [continued]: and this might change respondent to responding or personto person, we might ask them to do a couple of different tasks.Generally I would start by just havingthem explain their car, their purchase, howthey feel about it.Trying to not only get into the functional,how they use their car, but the emotional aspects.People have names for their car.People love their car.
MICHAEL CHAPMAN [continued]: So can we really dig beyond when they boughtit, and the factual elements, and how they use itto the number of miles?Can we get really the humanity of themand their interaction with the car to come out?As we drive, we'll ask them and observeparticular things of interest.We might notice them doing something in particular.Are they turning down the radio when they're lost?
MICHAEL CHAPMAN [continued]: Well that's kind of interesting.Why are they doing that?Are they turning their turn signals on really early,or not at all?If we're interested in a particular subject matteras well, for example, what's the best wayto create a new center console?We might ask them to do a couple of tasksthat we would anticipate would normally occur, but maybenot with us in the car.
MICHAEL CHAPMAN [continued]: So for example, do you drive with a passenger?If your passenger-- if your wife or your husbandis the passenger, who controls the music?Does it change depending on the song?So every question that we ask, we try to make it openended because we want them to reallyfeel free to explore and communicatewhat's going on in their head.
MICHAEL CHAPMAN [continued]: As well as the more stories that we can collect,the richer our context and the richer informationthat we will have to bring back to the office to do synthesis.
MICHAEL CHAPMAN: Are there other things in the past week, nowthat you've been more focused on the car that has sort of stoodout as new or interesting?Or even something confusing?
SPEAKER 4: Yeah, I mean, I feel like there's alwaysa little surprise hiding in the car.And generally it takes me a few monthsto get acclimated to a car, so it's alwayspretty confusing at first.
MICHAEL CHAPMAN: So what I'd loveto do now that you've explored the car a little bit moreis maybe we can put on our jackets, go outside,and you can actually demonstrate someof these things, these new featuresthat you become aware of.And other things that you're a little bitstill frustrated with, or aren't quite sure how they work.
SPEAKER 4: Yeah, absolutely.So the first thing I do when I get in my caris check to make sure the light are on.
MICHAEL CHAPMAN: When you're driving here,are you paying attention to here, to here--
SPEAKER 4: So, my eyes will go from there to there.
MICHAEL CHAPMAN: OK.
SPEAKER 4: Then back.
MICHAEL CHAPMAN: So I've noticed this is still connecting.Is this a problem?Like is this a glitch?
SPEAKER 4: This is actually a huge problem with this car.
MICHAEL CHAPMAN: Once we're done doing any one individual amountof fieldwork, we come back to the office and the first thingthat we do is debrief.Even though we're only talking to maybe eight people,12 people total, and that doesn't sound like a lot,but when you're covered in all of this information,and data, and stories, it's amazinghow quickly one person's stories blur to the next.
MICHAEL CHAPMAN [continued]: So the first thing we want to do is put up photos of themand capture the stories that they told us,so we can keep everything straight in our heads.As we're doing that, and actually even whenwe are in the field, we're, as a team,we're talking about things that we find interesting.We're seeing themes begin to emerge over time.We're capturing these on post-it notes and kind
MICHAEL CHAPMAN [continued]: of keeping them in our back pocketto explore later when we have a little bit more time.When we're back, though, to our officeand can actually put up white boards,have a lot of foamcore and space to sort of letall of our information explode out there, both visuallyas well as allowing us to move it around,we really start the synthesis process.We call it synthesis for a reason.
MICHAEL CHAPMAN [continued]: Analysis is the act of breaking down everythingthat we learn into its base components.That's a lot of our raw data.That's what we would call our field notes.Synthesis is then the act of lookingacross all of those different notesand beginning to try to recreate something new out of allof those foundational elements.
MICHAEL CHAPMAN [continued]: There is no right or wrong way to do it, which oftentimescan cause not only frustration, but ambiguity in the projectspace.You don't know what right looks like.You keep trying to tell stories until the parts beginto make sense.I see that this person, this person, and this person,boy, they all seems to get frustrated when the navigationsystem is telling them to do something,
MICHAEL CHAPMAN [continued]: but it was a route they knew, it theyknew there was a better way.OK, well actually, maybe that bubbles upto a theme of distrust if you already know the route.So we begin to look for those.What's important, because we're talking to so few people,and because we're looking across, oftentimes,a fairly disparate type of audience,we're not only looking for the differencesamongst people, which is sort of the obvious thing to do,
MICHAEL CHAPMAN [continued]: we also try to pay attention to the similarities-- what'scommon amongst those people.Because that's oftentimes where there'sa lot of passion and design energy to take somethingthat's already there, and furtheror excel that to a design intent.
MICHAEL CHAPMAN: So you need to beable to look through this space, and then also kind of dealwith the center console that's going to be next to it.So this is going to be obscuring the vision, whichis what leads to some of that not knowing quitewhere to look.
MICHAEL CHAPMAN: So as we're doing synthesis,it's interesting to think of it as an iterative process,just like design is.So if you're a little bit familiar with design,you never have the final solution right away.You try something, you see if it works,odds are it's not going to work, it's not perfect.You take what you can learn from it, and you continue to build.
MICHAEL CHAPMAN [continued]: Synthesis in the same manner.We're trying different things out,we're always putting things together, collapsing them,taking them apart.But we're doing this always-- at IDEO,we're doing research in the service of design.We want to understand what has some say sort of areaof gravity that we can take-- not just interesting, and not
MICHAEL CHAPMAN [continued]: just new and exciting to learn, but that actually wecan build something off of.Our final intent of research and design is a couple of fold.One is to come up with actual solutions thatare solving people's problems, as well as our clientsproblems.Obviously we don't want to forget about the client in allof this.But all of those problems that we're solving
MICHAEL CHAPMAN [continued]: are based off of what we learned through the research.The research becomes important again afterwards,because when we are defending our designs,or if a client asks us a question, why should webelieve in this design?It's not because it came out of a black box, or some sortof just wonder kid coming up with amazing design,we can point back to the actual themes
MICHAEL CHAPMAN [continued]: that we saw emerging and say, we believe that this is successfulbecause it's solving this, this, and thisneed that we saw in the field.The other part where it becomes really interestingis, even if the design needs to be tweaked,maybe we put the design out front of peopleto get their feedback, and we realizethe design itself isn't quite hitting on all cylinders.
MICHAEL CHAPMAN [continued]: We know why and what we need to do to fix it.It's not like you need to throw it away and startall over again, because the underlyingneeds we can still believe in.It's just how you execute on it for a design thatcan be modified a little bit.
SPEAKER 5: And then we have to think about Cindy,who is actually an Uber driver.
SPEAKER 6: Oh, yeah.That's a good point.
SPEAKER 5: And she's dealing with peoplewho are in the backseat, and they don't actuallyhave access to that center console at all.
SPEAKER 6: Yeah.
MICHAEL CHAPMAN: That's interesting, yes.So what does belong here that might influencewhat gets seen here, without also really botheringthe driver herself?
SPEAKER 5: Right.
MICHAEL CHAPMAN: After we've completed field workand have done all of our synthesis back in the office,we have what we call a research snapshot, wherewe share with our clients the opportunities that we'velearned, stories from the field, and the synthesis of how it allcomes together, which leads to the insights.All of this culminates into a meeting with the clientto get them on board.So in the next four to five weeks,
MICHAEL CHAPMAN [continued]: when we present our final designs,they understand where we're coming fromand they have the foundation and groundingto understand the origins of the needs of the solving for.The actual reason behind it might be up for but debate,but there's definitely a problem thatneeds to be solved about sharing or disseminatingwho gets to control what, and having clear distinctionand rules about who actually ownswhat particular features are happening at any given time.
SPEAKER 3: We also notice that peoplethink that they're going to use their center consoleslike they do their phones, as in sort of a touchscreen.But most center consoles right nowaren't actually touchscreen enabled,so they end up fumbling around the centerto try and find the controls.
SPEAKER 1: When looking at the remote data,we saw there's actually big a correlation with reaction timeand multiple people in the car.
SPEAKER 2: That's fascinating.Do you have any information about,like, if it's just one other person, or more?Like kids in the back, or anything like that?
MICHAEL CHAPMAN: Throughout the duration of the process,from the planning meeting, through the research,through the synthesis, we find it really importantto keep the client involved throughout.It's important because we're movingon a very fast paced journey where we're learning things,we're building things, we're disregarding things.
MICHAEL CHAPMAN [continued]: We don't want the client to be surprisedat the end of where we're coming fromand how we got to where we are.So the client is engaged throughout the entire process,including the final meeting.But we spend a lot of time thinkingabout how we want to craft that final deliverable.What does the space look like?We know our claims are oftentimes very busy,
MICHAEL CHAPMAN [continued]: and if they're in their own space,they have their iPhones going on, they have phone calls,they have e-mails.What we really want is to think about the waywe do the presentation as thoroughly as the waywe think about the design itself.So we want to try to engage them in a multi centurytype of final deliverable.Oftentimes that means that we like to bring them
MICHAEL CHAPMAN [continued]: to our space, where they're out of their comfort zonea little bit, but still in a safe zone.But now they're open to listening to different ideas.We try to engage the client.It can be anything from creating postersthat makes them stand up and actually approach and reada little bit about the respondents, a little bitabout our insights.It might be an interactive prototype where they're
MICHAEL CHAPMAN [continued]: actually playing around with something that we built,and they can use it.It might be a video that we createthat has them sort of understand our design intent,explores the landscape.Or a research based video where they can meet their consumersmore face to face, edited and curatedto tell a particular story.But that way, they-- if they weren't
MICHAEL CHAPMAN [continued]: able to attend all of the fieldwork,they actually feel like they were part of the process.All of this is done so when we get to the actual design,they're nodding.They understand our story, They understand our synthesis.They understand our insight.And they understand the logical conclusion of thismust be this design, because we've taken them on--
MICHAEL CHAPMAN [continued]: or we've crafted an entire narrative.It's not simply, tah-dah, at the end, here it is.It's a logical through line, and then a logical conclusionthat hopefully they're excited about.So we can see where they park it, how they treat it,what kind of conditions it's in.All of that can help contextualizesome of the responses later, when we're actually doing
MICHAEL CHAPMAN [continued]: the drive along with them.Environment is critical to ethnography.Being in the right environment isone of the foundational elements that separates ethnographyfrom a lot of other qualitative research techniques.Being where people live their lives, whether it'sin their home, in the right geography like city,
MICHAEL CHAPMAN [continued]: the right contextual environment is criticalbecause people oftentimes remember things based offof external stimuli.And so being able to point to something in their house,or point to that nav system, theydon't have to recall what they liked or didn't like.They can say this right here is what's causing me a problem.
MICHAEL CHAPMAN [continued]: Or, huh, I remember-- it feels like we'vepassed this street three times.I wonder if something's going on here.So the more stimulus that they have,and more importantly, the more wecan try to recreate their real world,the more confidence we have that whatever we end up designingis going to actually fit into their livesand solve their real world problems.
MICHAEL CHAPMAN [continued]: Designing in a vacuum, or designingbased of research done in a focus group roomwhere people are trying to recreate and rememberthe way they live their lives, reallysets up a deficit for the designer to be inspired.In addition, not only do the respondents feel more at easeand understand more of their lives,
MICHAEL CHAPMAN [continued]: our designers and our researchersare able to pull more contextual clues into our design.And we can be inspired through things, environmentsor objects, that maybe weren't the actual focusof the research, but can play into itthrough sort of more subconscious or at a DNA levelinto our designs.
MICHAEL CHAPMAN [continued]: One of the differences that makes IDEO separatefrom a lot of our competitors is that it's a seamless movefrom research to design.And the more real our research can be,the more that our designers can beinspired, not only through what they see in the fieldthrough the ethnographic fieldwork,but through the richer synthesis that can happen.
MICHAEL CHAPMAN [continued]: By understanding all of these different stories thatare happening in context, the more powerfulour designs can be.It's really helpful to bring our clients along.A lot of our clients know their customersquite well, but oftentimes in a siloed manner.It's interesting how rarely our clientsare able to actually get out into the field
MICHAEL CHAPMAN [continued]: and see their customers engaging with their productsin the real world.So it adds additional ammunition for usto prove a point when they can see what's going onand the way their products are being actually used.In many ways, it's powerful because a client might disagreewith what we're saying, or our interpretation,it's much harder for them to disagree
MICHAEL CHAPMAN [continued]: with one of their customers who they see actually saying it.So overall, ethnography helps bring the entire projectto life.It really makes it three dimensionaland adds a whole element of realismthat just can't happen if you're always behind a two--a two tiered plane of glass on a focus group or even a survey,
MICHAEL CHAPMAN [continued]: which is great to understanding a huge breath of what'sgoing on, but it's not necessarilythat great for understanding why things are happening.And the true power of ethnographyis uncovering not just in the stories that people have,but the motivations, the behaviors,and the mindsets that are drivingall of those activities.
MICHAEL CHAPMAN [continued]: And that allows our research to bericher, which in turn allows our designto be that much more nuanced.Oftentimes the difference between really amazing designand failed design is some really small level of detail thatcan only be uncovered through these storiesthat you're hearing from all kinds of people across all
MICHAEL CHAPMAN [continued]: walks of life.That can really amp up, wow, they get me.Those moments of surprise and delight when you find a designand you're like, somebody really was thinking about me.Those tend to come based off of that deep research that'sgone on throughout the entire process.
MICHAEL CHAPMAN: So we're really excited to take the next coupleof weeks to actually flesh these out, build some designs,and put them in front of you.And we hope you're excited about this as well.
SPEAKER 2: I am.This is great.
MICHAEL CHAPMAN: One of the great benefitsof working at a company like IDEO,and being a researcher at IDEO, isyou are open to projects that run the gamut from carredesigns, navigation redesigns, medical procedures,environments, services, all within a very quick time frame.
MICHAEL CHAPMAN [continued]: Which is really enriching.It means that you are oftentimes forcedto learn something really deep, really new,but you can apply that to other projects.And some of this application of whatI've learned about the medical establishment and buildingtrust can be applied to how do car sales work.The ability to look across projects
MICHAEL CHAPMAN [continued]: is not only a richness that our clients areable to benefit from, but as a researcher,it always keeps us on our toes because we're alwayslooking to try to make connections, whichis an amazing amount of fun or sortof an environmental playground that a researcher getsto gets to have.
Publisher: SAGE Publications Ltd
Publication Year: 2017
Video Type:In Practice
Keywords: anthropology and business; brainstorming; car cultures; client engagement; consultancy; customer centrality; emotion; intention; learning and motivation; place (geography); problem solving; recruiting; Sensemaking; Synthesis; transportation; understanding (cognition); worldviews ... Show More
Segment Num.: 1
Michael Chapman is the lead design researcher for IDEO, a consultancy that uses ethnographic research to inform designs in the private sector. He explains the benefits of basing design on ethnographic research, how IDEO conducts research, and the overall IDEO process.
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Michael Chapman is the lead design researcher for IDEO, a consultancy that uses ethnographic research to inform designs in the private sector. He explains the benefits of basing design on ethnographic research, how IDEO conducts research, and the overall IDEO process.