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Design Proposal: The future of cinema.

Research Proposal · September 2016

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DESIGN PROPOSAL
"THE FUTURE OF CINEMA"
 DESIGN PROPOSAL
Designer: John Aivaliotis

‘THE FUTURE OF CINEMA’

DESIGN BRIEF
Village Roadshow LTD

©2016 John Aivaliotis

studioaivali@gmail.com
PART 1 - DEVELOPING PD TOOLS 3
INTRODUCTION 3
USER-CENTRED DESIGN (UCD) 4
CO-DESIGN (CD) 5
PARTICIPATORY DESIGN (PD) 5
INCLUSIVE DESIGN (ID) 7
CASE STUDIES 8
STUDIO THICK 8
BEYOND THE CASTLE 8
THE URBANO PROJECT 9
DESIGN PROPOSAL 10
INTRODUCTION 10
CREATE PD TOOLS 10
CONCEPT DESIGN TOOL 11

PART 2 - OUTCOMES & CONCLUSIONS 13
PRE–WORKSHOP THOUGHTS 13
TOOL DEVELOPMENT 13
STRATEGY AND DEPLOYMENT 13
PD WORKSHOP CONDUCT 14
FINAL PD TOOLS PROTOTYPE 16
IMAGES FROM THE WORKSHOP 22
MOST PROMINENT RESULTS 24
ANALYSIS OF DATA 30
ACTIVITY CARD 1 30
ACTIVITY CARD 2 30
ACTIVITY CARD 3 30
CONCLUSIONS TO PD WORKSHOP 30
TRIANGULATING RESEARCH 30
CONCLUSION TO FINDINGS 32
EVIDENCE SUPPORTING THE CLIENT PROTOTYPE 32
PROTOTYPE EXAMPLES 34
FEEDBACK ON PROTOTYPES 37
ADVANTAGES OF PARTICIPATORY DESIGN 37
APPENDIX 1 38
REFERENCES 43
PART 1 - DEVELOPING PD TOOLS
INTRODUCTION
Village Limited require a solution in answer
to their creative brief under the banner “The
Future of Cinema”, which will address current
issues and directions for future investment and/
or expansion. This proposition will focus on a
thoroughly researched retail/service design that
will provide a solution to issues in retail sales
and queue design within current and future
retail section/foyer operations. This document
details the groundwork set by the designer,
before completing research and examining
prototypes for a solution. Participatory Design
(PD) is investigated initially as a method of
extracting new ideas in the design process,
examining avenues that are not normally
afforded by traditional design techniques.
By using PD tools to enrich the research &
design process, we come to a conclusion that
presents a refined proposition that ultimately
satisfies the requirements of the proposal.
USER-CENTRED DESIGN (UCD)
As development of Human Computer
Interaction (HCI) progressed during the 80’s
after the exponential growth of the Graphical
User Interface (GUI) on computers and emerging
technological devices, new ideologies began
to focus on the development of solutions
DIAGRAM 1.
ABOVE: Design tool flow-chart. IMAGE SOURCE: http://www.usability.gov/how-to-and-tools/resources/ucd-map.html
based on human needs instead of engineers
speculating on a desired outcome for a ‘virtual
user’. A slew of disciplines moulded this area
of research, such as Interaction Design, Visual
Design, Industrial Design, Information Design,
Human Computer Interaction, Information
PAGE 4
being to collect qualitative and quantitative
data—identifying problems and the participants’
satisfaction level with the product. Focus groups
are another tool used in the UCD process,
and may be one of the most informative. By
carefully choosing participants to engage in
discussion you can learn about user attitudes,
beliefs, desires, reactions to new concepts, and
analyse behavioural trends. Focus groups also
gather suggestions as to aesthetics, design,
usability, and product direction. The flowchart in
Diagram 1 shows a possible process of deciding
which tools to use in the design process.
CO-DESIGN (CD)
This discipline encourages users and end-user’s
to become involved interactively in design pro-
cedure, revealing a fuller understanding of user
perspectives, choices, and behaviours—whilst
treading new territory in the creative process.
Co-design involves multiple stakeholders en-
gaged in collaboration with designers through-
out the entirety of the design process (Sanders
& Stappers 2003), and was first developed in
Scandinavian countries in the 70’s with users
engaging in partnership (Gregory, 2003). Another
take on co-design is co–creation, concretized
in marketing fields by Prahalad & Ramaswamy,
who define a transformative relationship be-
tween company and consumer, by establishing
a bridge that encourages two-way communi-
cation, consumer involvement in co–creating
unique marketing directions and co–creating
the brand through the evolution of experiences
(Prahalad & Ramaswamy, 2004). This democ-
ratisation of design process is a key definition
underpinning the principles of Co–Design and
Participatory–Design.
Co–Design sessions can be workshops that
encourage participation of the end–user in activ-
ities designed to collect the maximum amount
of information and usually involves designers,
researchers, and users in a guided session. Some
tools include Storyboarding, Rough Prototyp-
ing, Mind Mapping, Role Playing and Affinity
diagrams. Innovation is gleaned through data
collection and analysis at the end of the work–
shopping program. Diagrams 2 shows some tools
and methods.
PARTICIPATORY DESIGN (PD)
Similar to Co–Design, Participatory Design
extends the design process inviting users to
become pseudo–designers, as facilitators
observe opinions, behaviours and outcomes
in focus groups or ‘workshops’. These
workshops are designed to creatively develop
ideas through interactive work with end-
users, and can reveal directions in design not
previously predicted or researched. Collective
creativity is not new, as participatory design
was active in Northern Europe over 40 years
DIAGRAM 2.
ago in the form of a collective resource
approach, where workers in the industrial
scene were involved in the development of
new systems (Sanders & Stappers 2003).
PD brings the end–user into the scene
suggesting that participants are taking an
‘active role’ in the design process (Taffe, 2015).
PD also represents a “socially engaged form
of design practice” which can be applied to
very specific and diverse requirements of the
task at hand (Barnes, Taffe, & Miceli, 2009).
There are many tools shared in the CD and
PD worlds, however more creative tools in
PD leave more room for creative expression.
The LEGO ‘Serious Play’ method introduces
a unique problem solving experience in a
facilitated workshop where users answer
questions by creating responses with LEGO
building blocks. The LEGO toys are specially
selected for this purpose which in turn enhances
group problem solving skills—including visual,
auditory and kinetic skills in the process—
creatively sharing stories and scenarios with
the researchers. Another ideal tool is Design
The storytelling supports the
exploration of the service idea.
Through the use of simple
words, the teller will illustrate
the solution as it is a story.

SOURCE: http://www.servicedesigntools.

The rough prototyping is a quick

method to build prototypes
using all the objects and
materials available in that
specific moment and location.

SOURCE: http://www.servicedesigntools.

The mind map is a tool for the

visual elicitation of our thoughts
and their connexions. The mind
map is a tool for the visual
elicitation of our thoughts and
their connexions.

SOURCE: http://www.servicedesigntools.

Some actors, the sample users

or the designers themselves
perform a hypothetical
service experience. The
implied condition is thinking
that the service really exists
and then building a potential
journey through some of its
functionalities.
SOURCE: http://www.servicedesigntools.

The affinity diagram is a creative

process used for gathering
and organizing large amounts
of data, ideas and insights
by evidencing their natural
correlations.

SOURCE: http://www.servicedesigntools.org/tools/15 ABOVE IMAGES: Co-Design tools.

PAGE 5
Games, in particular a game called ThinkCube
(from www.thinkcubating.com) which is a
brainstorming game similar to MetaMemes
(McMullin, 2007). Games are excellent for
behavioural research that encompass and
encourage participatory involvement which
then spurs innovation and change—especially
effective when the foundational principles
are adopted to each design initiative. Games
are a rewarding experience which encourages
curiosity and motivation, especially if prizes
are involved (McMullin, 2007). Diagram 3
Illustrates the use of games as tools.
DIAGRAM 3.
IMAGE SOURCE: http://www.lego.com/en-us/seriousplay ABOVE IMAGES: Photos & Images from the LEGO Website.
SOURCE: http://www.thinkcubating.com/ IMAGE ABOVE: ThinkCUBE Co-Design tool.
PAGE 6
INCLUSIVE DESIGN (ID)
A great number of design initiatives focus on
a larger perspective, and this requires thought
extending to a large group of end–users
when thinking of accessibility. The inclusive
Design Research Centre (IDRC) has an excellent
definition—Three dimensions of Inclusive
Design which include the recognition of
diversity and uniqueness, inclusive process and
tools, and the understanding of broader impact
(IDRC, n.d.). The definition by default infers a
design process which includes the behaviour
and experiences of all participants in a study
group—examples could be the design of
environments in town planning, architectural
designs to cater for many tastes and types,
disability enablers such as wheelchairs and
ThinkCube is a complete
solution that provides you
with all of the tools you need
to innovate. It represents
the culmination of 10 years
of research in creative
thinking and synthesizes
today’s leading creativity
tools, techniques, and
processes. Whether you
use it alone or in a group,
ThinkCube trains your brain
and lets you exercise your
creative muscles.
hoists, universally understood Graphical User
Interfaces (GUI’s), or medical devices and
CASE STUDIES
procedures that may heal many. The primary
goal is to create for everyone, irrespective of STUDIO THICK
gender, age, disability or psychology, and is
Studio THICK is a Design Strategy company
a constantly evolving philosophy that may
with expertise in service design, research,
also be associated with Universal Design and
business design and customer experience
Accessible Design (Persson et al. 2015).
(THICK, n.d.). Accessing the case study page
Microsoft has pioneered a design tool–kit
reveals a host of completed projects—in this
enabling users to create inclusively, and
case the focus is on the Arts Access Victoria
does away with the traditional definitions of
Website which launched in February 17th,
disability—instead conceding that disability is
2016. In this project a Participatory Design
not a personal attribute, and may extend to
approach was used to produce an accessible
situational impairments, limits to activities,
and participation restrictions. The design
tool-kit involves a set of cards which contain
activities set in a particular context and to
be followed in succession—Get oriented,
Frame, Ideate, Iterate, and Optimize. Each
card sets out instructions in an easy-to-follow
format, and includes materials required,
time needed, and participant numbers.
Diagram 4 showcases Microsoft’s tools.
DIAGRAM 4.

Most design processes are iterative and heuristic. This tool-kit aims
to complement, not replace, the many existing types of design
process. There are great human-centered design methods available
from multiple sources.
Like a chef’s recipe, your own design process should be the primary
direction for your design. The elements of this tool-kit can
be added, like ingredients, to improve the inclusivity of your process.
How and when you integrate them is up to you.

AT A GLANCE
SAMPLE DESIGN PROCESS.
As we learn different perspectives, we need to apply them to the
bigger picture that informs our designs. It can be helpful to re-frame
our thinking to see human limitations as possibilities.
Here is a sample of how we put Inclusive Design into practice at
Microsoft. We design for a broad range of customers and these
methods will evolve as we apply this tool-kit across our products.

INFORMATION & IMAGES SOURCE: https://www.microsoft.com/en-us/design/inclusive ABOVE IMAGES: Photos and Illustrations of Microsoft’s Inclusive Design tools.

PAGE 7
IMAGES ABOVE and RIGHT: Studio THICK Website Design Portfolio.

website that advertises accessibility–specif-

ic events as well as provide a platform for
artists to communicate and sell works. It
was essential that the site design upheld the
organisations prime directive and branding,
communicating core values and further praise
the organisation’s excellent contribution to
the cause. THICK achieved delivery by holding
collaborative workshops that asked those with
a disability to join in the creative process and
aid in decision–making via hands–on testing,
prototype feedback, and interviews. Foremost
on the minds of the designers was the idea of
“Making Accessibility Beautiful”, encouraging
engagement on the site whilst exemplifying
the ideology and achievements of Arts Access,
‘elevating’ the art and the artists (THICK n.d.).

BEYOND THE CASTLE

Beyond the Castle (BTC) is a project that is a part
of a larger European initiative named PROUD ALL IMAGES SOURCE: http://www.studiothick.com/case-studies/arts-access-victoria/

(People, Researches Organisations Using co-
Design) which endeavours to use Co–Design in
helping to improve public spaces (Cruickshank,
2013). In this case the public space in question
resides in Lancaster (UK) on the opposite side of
a monolithic castle estate (The Queen’s private
estate), and is rather overgrown and underused.
The resounding buzzword was community
engagement, so five co-design events were
planned, allowing for the creative contributions
of the community to shape the outcome of
the project. The first event was an awareness
campaign, where community could comment
on the project and initial feedback was received.
The second event called “Imagine all the stories”
included 8 interconnected activities in the green
space which used story–telling as a Co–Design
tool—Enlisting a living Roman centurion and a
swamp fairy to induce creativity. The third event
invited participants to imagine the shape of the
park by making clay models and using mapping
techniques. The fourth event was not open to
the public and enlisted active contributors to sort
through over a thousand ideas contributed from
the community on previous events, curating
future workshops from knowledge gathered.
The final event centred around an interactive
Co–Design exhibition which was designed
after analysis of previous data and based upon
Sanders’ & Stappers’ theory ‘scaffoldings for
experiencing’ (Sanders & Stappers, 2008). In
conclusion the project was a great success,
proving that Co–Design methods allowed
participants to produce very high-quality
suggestions and also produce areas for further
study. The project’s continued follow-up and
research can be found at http://imagination.
lancaster.ac.uk/activities/Beyond_Castle.
THE URBANO PROJECT
The Urbano Project was designed to raise
awareness of a Boston free from constraint and
problems currently plaguing the city, via a partic-
ipatory tool allowing the community to imagine
and interactively create an emancipated ver-
sion of the city (Urbano, n.d.). The Participatory
Artistic Travelling Installation (PARTI) is a suitcase

PAGE 8
which contains two kindle tablets pasted on
the walls of a suitcase—one displays a video of
Urbanos’ community work as well as the theme
“Emancipated City”, and the other allows the user
to create their version of ‘the vision’. Using story–
telling through art, PARTI is still a work–in–pro-

ALL IMAGES SOURCE: http://imagination.lancaster.ac.uk/activities/Beyond_Castle. ABOVE IMAGES: Photos from the 'Beyond the Castle' Participatory Design project.

gress, created (after several iterations) to bring a lot of potential, emphasising the iterative effect
attention to the stories and emotions of the com- in the process of innovation-improvement over
munity through videos & images. Users created what came before. More about this project can
on a digital interface (Amazon Kindle), and then be found at www.urbanoproject.org.
broadcast artworks on the Vine Network and
through social media channels. Specific instruc-
tions guided the user to watch other’s creations
on one kindle device, then they were encouraged
to create their own video, improving upon the
previous user’s input. A high-school project with
PAGE 9
DESIGN PROPOSAL
INTRODUCTION
Eliminating stressful queues and quickening
trade have been the golden nugget for
many businesses in the retail sector, and it is
no different in the entertainment industry.
According to research conducted by Village,
cinema goer’s greatest grudges stem from
overpriced tickets, and stressful queues,
and it’s in this area that a solution will be
proposed in a response to the brief. Drawing
on the research in design tools, an interactive
workshop central to the design process could
yield greater knowledge about customer
behaviour, perception and opinion when
attending Village Cinema Exhibitions.
CREATE PD TOOLS
Ideally I would have used multiple techniques
such as in the BTW (Beyond The Castle) project,
where a few different exercises would tax the
patience of the participants, followed by a game
or role–play initiative, and then concluding with
brainstorming sessions, storyboarding and
feedback surveys to be completed at the end.
By simulating real–world experiences in the
queue in a role–playing context, we can view
the participants when stressed, and then
ask them to complete a questionnaire in a
more relaxed state. This would reveal a more
accurate picture as to how the participants feel
as a client in the cinema queue, and give us
insights into reducing anxiety. This is primarily
an investigation into the emotional impact of
the queue system and how it affects clientele,
and in this context we will attempt to uncover
any underlying issues, perceptions, ideas,
suggestions, and directions we can take in order
to find a suitable solution. Two existing tools will
be used here—A role–playing game to break
the ice and introduce the participants to the
topic, and a group sketching exercise with the
purpose of researching the ideal situation when
purchasing tickets and food at the cinema. If
time is a factor, then skip directly to the group-
sketching exercise. Preparing a sketching pack
before the session—which includes instruction
cards, pencils, drawing sheets and other
stationary—is essential and must contain all
the elements required for the workshop.
PAGE 10
ABOVE: Photos from the 'PARTI' Project. SOURCE IMAGES: www.urbanoproject.org
CONCEPT DESIGN TOOL
Role-playing game (Ice breaker):
Participants form a queue–line in front of
a virtual cashier, shaped in a square and
allowing one random space for someone to
walk through once the player is blindfolded.
One participant has to walk around the square
(posing as the cashier) yelling “Tickets here
please” with a sequential pause in between
chants, whilst the crowd in a square either
confidently chat in a loud conversation or
chant “We want movies, we want movies!”.
Each side of the square should chant in
opposing sequences, i.e. one side starts
chanting, then the other, and so on. A single
participant (the player) is placed in the middle
of the square blind–folded, and spun around
three times, just enough to disorient them,
with arms by the side. They now have the
challenge of finding the gap in the square and
get to the cashier amongst all the commotion
in record time! The player who gets to the
cashier in the quickest time wins (perhaps a
movie ticket). However if the player touches
any participant in the square barrier, the
player must be spun 3 times again! When
the game ends, a questionnaire is to be filled
out to gain the most from the activity, before
moving on to the group sketch session.
Diagram 5 illustrates the role–play game.
Group–sketch initiative:
A sketch–pack including instructional cards,
pencils, pre–printed drawing sheets and lined
writing pads will be used by the participants
in sketching opinions and ideas as scenarios
are presented to them. The main scenarios
presented on cards and instructions are as
follows:
1. Use the Kiosk sketch card (Diagram 6)
and sketch a kiosk–style web page where
you can purchase tickets, answering
the following questions as you go:
DIAGRAM 5.
TICKETS
HERE
QUESTIONNAIRE
1. How did it feel being in the square?
2. Could you make out the ticket cashier
easily?
3. How did you manage to get to the gap?
4. Did you try to cheat by putting your arms
out to feel the crowd?
5. What was going though your mind at the
time?
6. Did you rely on instinct or sensory infor-
mation in order to win?
7. Can you relate to experiences in any
retail queues?
8. What could you have done better in
creating a game?
9. How could the game be better expressed
to prove the point of queue anxiety?

START
10. Is there anything else you could suggest?

• What is the first thing you are
looking for on the screen?
• What would you prefer—lots of
graphics, or simple icons. Explain.
• How much information do you want
to input? Name, address etc.
• How important is choosing a seat? Do you • Sketch as best you can on a blank
follow seat numbers, or sit anywhere there
is a space, and move when you’re told to?
• Would you specifically choose your
seat position in the cinema, and
where would you sit normally? Draw
your seat in relation to screen.
• What kind of payment
options do you prefer?
• Do you prefer paper tickets or electronic
2. View the three queue options on the
queue diagram card (Diagram 7)
and answer the following questions:
• Which queue would you choose, (a), (b) or
(c)? Please explain your answer and detail
what decisions you made in the process.
sheet your idea of the perfect queue
and spend time drawing details. Add
obstacles, chairs, food stands etc.
• Assume the cinema seemed empty,
what would be the order of your
actions i.e. ticket first, buy food,
toilet, play video games etc.? Please
elaborate as much as possible.
DIAGRAM BELOW: Customer Journey Map.

confirmations such as email?

• How long do you want to stay at
the kiosk to obtain your ticket?
• Do you prefer receipts of
financial transactions?
• Once you have your ticket would
you proceed directly to your cinema
seat if the cinema doors are open?
• Would you purchase tickets online
at home, or wait until you arrive?
• Would you pay a premium if you could get
through the queue faster? IMAGE SOURCE: http://www.funnelenvy.com/blog/2016/01/07/s-bolts-customer-journey-mapping/

PAGE 11
CONCEPT DESIGN TOOL (CONT) DIAGRAM 6.

These sketches are principally initial ideas,

which will be refined closer to the workshop.
The input from is valued based on how the
participant has experienced queue anxiety
or some other form of distress whilst waiting
to purchase tickets or food. Here there are
emotional aspects that can be considered in
evaluating how effective or defective the queue
performs in developing brand association and
customer contentedness during cinema visits.

DIAGRAM 7.

PAGE 12
 PART 2 - OUTCOMES & CONCLUSIONS
PRE-WORKSHOP THOUGHTS
Initially I feel the Co–Design attitude is instilled
within my own business practices, however
raw and informal the ideologies are. Treating
clients with the utmost respect and allowing full
interaction (or as much as possible) throughout
the design process has always been my main
intention.
Co-Design and Participatory Design formalize
this interaction between client and designer,
allowing full access to the designer’s
developmental time-line, and increasing the
opportunities to better understand the client’s
needs. Too often I have seen clients shut-out of
the project—the designer allocating little or no
developmental input—building trust through
assumptions stemming mainly from the cost of
the service, and the reputation of the designer
gathered primarily from portfolios. Treating
clients as people with a voice has always been
a number one priority for me, whether in a
business or personal context. PD extends my
feelings on design and expresses them with a
structured solution that ends the divide between
designer and client. It’s always rewarding when
you have a fantastic element of connection with
your client especially when forming the bond of
trust—more than just a gentleman’s agreement.
IMAGE SOURCE: Image Designed by Freepik.com.
TOOL DEVELOPMENT
The original design concepts for the tools
(developed in part 1) were refined and extended
to maximise as much potential data collection
as can be sequestered from a workshop held
with a short period of time available. This
required tapering question sizes, and refining the
number of activities per card. My final prototype
design tool involves a set of instructional cards
that ask the participant to express answers
to questions via sketches, written answers,
and use stickers that represent emotions &
ratings. The idea is to bring both sides of the
brain to equilibrium, involving intuitional and
practical “tactile” responses to what is asked of
the participant on the cards. By setting a level
playing field within the group, the participant
can choose how to respond without being
directed or commanded externally. In general,
these questions require answers that insinuated
how queue design could be re-developed or
eliminated all-together. Comfort levels, food
quality, and other levels of satisfaction were
recorded in the process, allowing for collection
of both qualitative and quantitative data.
Maximising time for the participant to answer in
a relaxed manner is the goal of my design tool,
even though in this pilot program we only had
the pleasure of approximately twenty minutes
to conduct each workshop in succession.
After trialling the initial set of questions on the
prototype design tool, it was considered that
fifteen questions were superfluous—eight clear
and decisive questions would suffice. The other
peer–reviewed comments concluded that large
type must be used on the instructional cards,
and that full instructions on how to use the tool
should be clear and understandable. Following
this, I had deduced that most questions should
retrieve emotional experiences during cinema
visits, including thoughts on those emotions
experienced. This would provide a clearer picture
without educational bias, clarifying feelings on
the basis of experience only. And finally, some of
the questions were structured around seeding
a possible idea—and requesting responses
as to it’s viability. Questions of this type
would provide sufficient evidence suggesting
change, rather than asking for approval on
a particular system, structure or ideal. The
instructional cards were combined in a PD
pack including photos, stickers, pencils, answer
sheets and spare paper for the participant
to use as required during the workshop.
STRATEGY AND DEPLOYMENT
After considerable research, and reflection on
numerous experiences encountered during
the conduct of this project, I have carefully
devised a simple step–by–step PD strategy
for efficient data collection and analysis.
1. Plan ahead by researching company
structure/financials/branding/marketing
PAGE 13
 strategies, previous inroads into company
issues, and any contemporary company
history relating to the context of the brief.
2. Assemble a structure for deployment
of workshops, including time–lines,
content, and methods of data collection.
3. Devise a plan in communication with client
management as to the sample quality and
size that will undertake the workshops.
4. Create a contingency plan that details
what should be done if workshops were
not successful and how the project can
continue during any damage-control
situation. Create backup plans.
5. Prepare a plan for management which
outlines the process and communicates
all methods of interaction required
between client and designer(s).
6. Set realistic goals and detail
participant involvement.
7. Develop and review design tools
and test prototypes on colleagues
before deployment.
8. Conduct sessions as outlined in the plan
to client management. Record sessions
on multiple media (video, audio).
9. Analyse data and continue feedback from
participants and client management.
10. Document the findings for both
simulated and actual data. Draw
conclusions and possible directions for
further study. Refine prototype design
tools for possible re-deployment.
11. Triangulate and compare findings
with several sources of primary
and secondary research.
12. Create a draft design solution (prototype)
based on findings and report to client.
The visual diagram on page 15 illustrates
this process. This twelve–step process
can be modified according to context and
situation, however fundamentally these rules
remain sound in any Co-Design practice.
On this occasion I had initially suggested
that several PD sessions and surveys be
conducted, which would gather a maximum
amount of data for the brief. However due
to time constraints, three main methods
of data collection were devised:
• Initial ethnographic survey (pre–study).
• PD session with 20 minutes allocated.
• On-line survey including minimal number
of questions and advertised daily on
social media for maximum sample size.
This decisive action created avenues of
comparison and would offer enough data to
PAGE 14
complete the final prototype. Due to the lack of
time and work-around schedules, this process
of data collection proved to be a master–stroke
in the project’s proceedings, as the amount
of completed surveys I would collect was an
unknown factor. This was determined during
the pre-workshop organisational period that
was planned on good timing due to many
unfortunate events and time constraints.
Accounting for unknown factors was an excellent
point in documenting contingency plans in case
of any failure. To counter any lack of completed
surveys, or any loss of data, several sources of
data from research are highly recommended.
PD WORKSHOP CONDUCT
After a successful PD workshop (held at
Swinburne University on April 11th, 2016)
much information was gathered that included
shared observations made by participants and
co-ordinators. The activities were completed
in under 20 minutes, as participants vigilantly
completed the tasks to the best of their
abilities. It was an excellent opportunity
that brought together a carefully designed
sample group that would be conductive to
a high–quality outcome. It was exciting to
see the Village management representatives,
students, and lecturers participating together
in such a large group session. I believe it was a
great success, as everyone kept an open mind
and seemed genuinely open to try different
activities with vigour. Most participants
only completed the first two–thirds of the
tasks on my instructional cards. However,
these responses were quite detailed, and
allowed much more data to be gathered in
the initial stages of research. Not only were
my activities (mostly) completed during the
workshop, some activity packs were handed
out randomly amongst family and friends,
who completed the work also. The total
sample size remains at eighteen, with over
half of the activities completed fully. Most of
the crucial questions were answered on the
first two activity cards, so much could be
said about customer opinion. Photographs
of the workshop follow on pages 15 and 16.
Another keen observation was the willingness
of participants to complete the questions.
All participants concentrated exclusively on
the tasks at hand, proving to be the quietest
group in the workshop. I would have loved
to see the participants interact more freely
in a group PD session, however my design
tool was created to maximise data collection
within a given amount of time, so that even
if partially completed, this tool could reveal a
lot of information in time–poor situations.
 PARTICIPATORY DESIGN STRATEGY DIAGRAM

Plan research methods

Simulations

Ethnographic/preliminary surveys
Deploy pre-studies
Further primary research

Multi-method research Secondary research sources

Initial findings-develop questions

Develop further research strategy

Contextual research
Develop PD activities/questions
History
On-line survey
Marketing strategy
Deploy concurrent research
Research client Other primary research
Branding

Financial position
Collect data from all primary research

Request current research conducted by client Collect feedback from workshop

Collect data Collate synchronous data

Assemble participants and sample size

Client Compare primary and
secondary research
Discuss limitations/constraints communication
Analyse data Triangulate findings
Communicate workshop details Formulate conclusion

Structured feedback Discuss further research

PD STRATEGY
Finalise research
AND STRUCTURE
Assemble design team Failsafe options

Set realistic goals

Contingency plans Prototype Re-test

Communicate proposal Damage control

Venue allocation Structure workshop

Peer review
and tool deployment
Correspondence
Test prototype
Timeline Devise tools prototype
Refine

Conduct workshop
Broaden test group

Record proceedings (Multimedia) Re-draft

Assemble framework
Design tool set
and design tools
Prepare deployment of tools

Assess effectiveness

Prepare tools for possible re-test

Present findings and draft prototype

Develop proposition Refine prototype

Finalise deliverables

Prepare
proposition

PAGE 15
FINAL PD TOOLS PROTOTYPE

PAGE 16
PAGE 17
FINAL PD TOOLS PROTOTYPE (CONT)

PAGE 18
PAGE 19
FINAL PD TOOLS PROTOTYPE (CONT)

PAGE 20
PAGE 21
IMAGES FROM THE WORKSHOP

PAGE 22
PAGE 23
MOST PROMINENT RESULTS
Not all responses were detailed and articulate,
and some did not follow instructions precisely.
However, these responses provided a clear
picture as to which direction participants
PAGE 24
were taking the design process, and what
conclusions could be drawn from articulated
responses. It’s important to note the diversity
of feedback, as most of these sketches were
completely individual and devoid of possible
similarity. Answers to questions began forming
synchronous patterns, especially when it came
to ticket purchasing preferences and queue
designs in the foyer section. Personal preferences
were indicated with emoticon stickers, and
ratings were given with ‘star stickers’. Some
detailed sketches in foyer design clearly show
no form of queue or barrier to the customer
journey from ticket purchase to counter sales.
PAGE 25
MOST PROMINENT RESULTS (CONT)

PAGE 26
PAGE 27
MOST PROMINENT RESULTS (CONT)

MOST PROMINENT RESULTS (CONT)

IMAGE ABOVE: The only participant who sketched a queue line!

PAGE 28
PAGE 29
ANALYSIS OF DATA
ACTIVITY CARD 1
The intention was to observe how an electronic
ticket kiosk (touch–screen) would affect the
queue and subsequent customer journey from
ticket purchase to being seated in the cinema.
Most participants detailed a 3 to 5 step process
in the Graphical User Interface (GUI) design of
the electronic kiosk device. A html–style web
interface would display minimal menus which
should include ‘Movie, Seat, Pay & Collect’.
Interface designs (and descriptions) were
colourful, suggesting the inclusion of clear and
attention getting graphics—also assumed was
the identifiable styling for Village branding as a
consumer expectation. Clear conventions were
described, such as drop–down menus, which
would be memorable and easily accessed by
any user—from any age group. Most opted for
minimal personal information entry into the
system as time cited as a common reason in
expedited use of the software. Most participants
agreed that the queue is to be avoided or
eliminated. Sixty percent want a paper ticket
issued, ten percent want only electronic tickets
sent to e–mail or to the phone (as a push
message), and thirty percent want both. Fifty
percent wish to purchase at the cinema, the
rest wish to pre-purchase online. Fifty percent
would purchase something else (food) as a part
of the process. Seventy percent would agree
to purchase at the in–house kiosk, thirty five
percent online, and five percent at the counter.
ACTIVITY CARD 2
Respondents were asked to contemplate the
current queue design, then sketch a new design patrons feel they must have absolute freedom.
and answer appropriate questions. Some
sketches clearly show more seating areas
or meeting spaces, and only one participant
sketched a design for a queue! Customer
journey data placed retail purchases sequentially Love the air and freedom”. The overwhelming
after buying tickets, underpinning the need
to refine food choices as customers are ready
to buy. Some sketches at the very least show
the need for space and maximum freedom.
Most answers to questions revealed a general
distaste of under-staffed retail areas, exorbitant that current designs in Australia are no-longer
ticket prices, general queue anxiety and lack
of seating/meeting areas. Responses indicated
a willingness to experience a ‘barrier–less’
customer journey, and that increasing staff
would make the cinema more human-centred.
Twenty percent ‘loathed’ the ‘snake’ queue
design, forty percent were ‘happy’ with the
parallel queuing system, and the final forty
percent were ‘happy’ to see a change
(something other than what’s available now).
PAGE 30
ACTIVITY CARD 3
Questions that examine 3 interior designs of
existing cinemas based on photos 3b, 3c, and 3d
(page 21). Does interior design or architecture
matter? All respondents commented that the
environment in the retail area is extremely
important, and should be comfortable &
immersive with an open atmosphere and plenty
of spaces to relax. It was not so important to
expect to be entertained, and there was no
emphasis in needing to be distracted. Ninety
percent of respondents approved the design
in 3c which is a modern Parisian cinema built
in 2013. First impressions when viewed by
participants were the self–serve kiosks, followed
by the open spaces, bright detailing and
modern styling. The architect responsible—
Ora ïto— modelled this cinema around an
airport departure lounge “a comfortable
and relaxed environment that prepares
guests for the main event “ (artica 2015).
CONCLUSIONS TO PD WORKSHOP
Identifiable conventions and branding remind
the clientele of a trustworthy company that
provides an extra-ordinary level of comfort
and choice. Clearly ticket purchasing could be
completed more efficiently, with preference
for electronic means to maximise freedom.
Clearly the customer experience must be
as barrier-free as possible, providing the
customer with every freedom available to enjoy
themselves from ticket purchase to movie
delivery. Some strong feelings exist here—
Some respondents were astonished at the
cinema foyer designs in the photos (page 21).
The comments ranged from “Do these cinemas
really exist?”, to “Wow, just spacious & bright.
response pointing to design 3C poses the
question “Are our cinemas outdated?”. In
conclusion it is clear that personal freedom,
maximum choice and comfort is considered
highly in expectations from patrons. It is evident
appealing to the customer, and could be
repelling clientele instead of attracting them.
TRIANGULATING RESEARCH
Preceding the main method of data collection
in this research (PD workshop), I had conducted
a quick ethnographic survey in two cinemas
—Doncaster Shopping-town Cinemas and
Century City at Glen Waverley. Some of the most
common questions customers were asking were:
• Why should I go to the cinema?
• What does it cost overall (time & money)
• Why should I stay longer (before
or after screening)
The majority of responses were clear:—it is
time consuming (in queues), and prices were
too exorbitant. However the nostalgia remains
and if they turned away initially, most patrons
remarked that they would consider returning
if the conditions were right. Sometimes costs
were overlooked when full enjoyment was
reached, and in many cases patrons did not
realize they had spent so much in one evening
at the movies. It was observed that when
individuals are increasingly happy and at a high
level of emotional enjoyment, there may be
moments where time and money disappeared–
even expectations are forgotten and critical
thinking melts away. These fleeting moments
were distinct and observable in almost every
age group and demographic. Friendship and
overall camaraderie was an important factor
in building happiness, and when a connection
is made with others there seems to be nothing
more important than ‘having a good time’. This
particular human behaviour was observed in
a large number of younger groups, however
across the entirety of the experiment it can be
said that older groups also experienced this
high level of satisfaction. In terms of occupancy
there was little evidence supporting a need to
stay longer than the course of the movie, and if
at all it would be in waiting for other parties to
arrive. Only half of the patrons were observed
purchasing any sweets or popcorn. General
expenditure on food could be described as
‘average’, although a larger sample size and more
surveys would reveal more specific evidence on
what exactly is purchased and in what quantity.
During the course of this project, I had
conducted another survey on-line to
compliment the data from the PD workshop,
which consisted of fifteen True/False and
multiple choice questions (see Appendix 1).
Summarised results are tabulated below:
• Response to no queue at all—81.7%.
• Pre-purchase ticket without
verification at cinema door—85%.
• Pre-purchase ticket on Internet—75%.
• Installation of a 15–minute until
start express lane—66.4%.
• Quality of food rating in average
cinema visit—4.96/10.
• Overall comfort level in cinemas
attended—6.12/10.
• Would patrons buy food more
often if healthier—44% said ‘yes’.
• The diagram below shows results
from the multiple–choice question:
“What more could be done to
make your experience better?”.
PAGE 31
CONCLUSIONS TO FINDINGS results obtained from the PD workshop. When
Embarking on this project, I held that the solution asked if respondents would buy food more often
would pertain to some new technological if there were healthier options, forty four percent
design that would bring a revolution in cinema said ‘yes’. Although a side issue in regards to the
exhibition—and consequentially, sales. major points developed in this project, food sales
However as the research progressed, a more are a major source of income for the company,
fundamental level of truth began to emerge and according to these findings it may require
which synchronises with customer service and closer attention. In terms of brand recognition
the foundational principles of customer care. the company should make amends in eliminating
Triangulating data may have revealed more the association of ‘stress’ or ‘expensive’ or ‘bad
synchronous results in support of no queues or food’ with the Village brand. These terms were
re-designing queues for efficiency and customer repeatedly expressed during the PD workshop
comfort, but fundamentally there is evidence and initial ethnographic survey. The last of
here that suggests patrons are demanding the collected data in the project points to the
change across all areas of cinema retail. Our PD lack of feedback and communication from
workshop was particularly revealing in identifying management—the current feedback system is
the need for honest treatment for customers, either non–existent or is not advertised enough.
and in the customer service initiative possibly
insinuating that customers do have some level EVIDENCE SUPPORTING THE PROTOTYPE
of control and educated perceptions. Faster
Working on the strength of research uncovered
purchasing alternatives are a general theme
in this project, a fresh perspective can be
amongst the findings, and is prominent because
formulated in building the final deliverables.
of the need to avoid queues. Customer anxiety
Owing much to current research in service
clearly prevents rational thinking and decision
design, humanist perspectives must not be
making at the service counter, but this cannot
overlooked in deducing a possible solution
be used as a means for marketing strategy (i.e.
satisfying Village Cinemas criteria in the brief,
inducing more purchases–interrupt advertising)
and proving this has been a key aspect of
as repeat over–spending or anxious experiences
this project. As discussed by Petermans et. al.
could have a negative affect on patrons. As
(2013) the importance of brand relationships
an alternative, why not allow the customer to
and the aspect of customer experience can be
be more assertive and alert by being relaxed
misunderstood by many stakeholders, as there
and mindful, as this could increase brand
is no clear understanding of this as a value in
dependence and a form insurance in the long
run—by creating return patronage and boosting conducting business—and designers often have
brand capital for Village. differing views to retailers. Conducting business
Over forty three percent want to see healthier with the customer has always been the goal
food choices, and comfortable seating—clients in any venture dealing with the general public,
may also stay longer and possibly spend more however how this is executed has changed
money (more research required to confirm this, frequently over time, with varying degrees
however initial results are in the affirmative). A of success. Offering comfort and freedom to
humanist oriented retail service is synonymous patrons as one would expect to be offered
with results—more staff, more comfort, more themselves is a good start in refining customer
smiles and communication. service in this context. As shown in the research,
Environment is also extremely important, there is a high demand for clientele to experience
as respondents showed a general affinity the utmost in choice, comfort and freedom—and
for fresh new environments with maximum this is re–iterated in peer–reviewed research.
comfort levels. Clear, bright open spaces were The queue is a well understood part of any
another attractive aspect synonymous with bricks–and–mortar retail establishment,
most participants. People come to the cinema especially in supermarket planograms. However,
as a release from day–to–day activities, and it hoarding items for sale around the cinema queue
is this form of surrender that patrons wish to is impractical and defeats the purpose of offering
experience. Food choices are another issue that a premium experience, possibly defeating the
needs to be addressed. In the research there is purpose. The cinema has always been a place
confirmation that sweets and popcorn are items of relaxation, somewhere to wind down and
that have become staple fare at all cinema retail release the worries of the day. Foremost on the
counters—yet over fifty percent of respondents manager’s mind would be to value how clients
in the on—line survey felt the food selection feel about waiting in queues for any length of
was below average, which was in sync with the time. As discovered by Bennet (1998), the queue
PAGE 32
is possibly the greatest source of anxiety to any
shopper, and in areas of increasing affluence
and social class, it can reach intolerable levels.
Bennet suggests confining critical research to
local clientele, clarifying exactly who uses the
service and what demographic is prominent.
Perhaps taking a page out of Sheu’s research
and refining the queue by developing a team-
oriented solution to quicken service throughput
could be an intermediate answer (Sheu
2003). However I feel that all anxiety must be
eliminated if ultimate surrender is to be achieved,
as it is well known that stress can have many
undesirable effects such as memory loss, lack of
comprehension, and attention deficit (Devilbiss
et. al. 2012). How is it beneficial to Village Cinemas
in building a memorable brand when anxiety
is the first emotion experienced upon entering
the premises? Clearly a re–shuffle of thinking is
desired here.
The Cinema is also a place where the ultimate
story-telling takes place. But with power over
story-telling comes responsibility, as it’s value
stems beyond escapism and enjoyment (Batt
2006). Movies teach, expand concious learning,
inspire minds, and so much more. My response
insinuates the need for cinema patrons to
experience the ultimate surrender, allowing
them permission to let go and absorb everything
that the service has to offer. In doing so, Village
Cinemas would have achieved a pinnacle in
marketing advantage—creating a religious
following with a surge in brand awareness
and capital. Offering the utmost for our clients
PAGE 33
asks nothing more than what we would expect
for ourselves and our families. It’s only natural
that customers would respond positively to
this brand initiative. I believe that a return to
grass–roots is required before moving forward in
this circumstance. The foundation upon which
cinema entertainment has been built is the
most important component requiring change in
developing an answer to this client brief. There
will always be new uses for technologies in visual
and audio entertainment, but if the user is not
attended to, how will any cinema technology be
adopted by patrons if basic needs are not met?
Building a prototype based on this research
removes barriers to personal experiences of
surrender and ultimate enjoyment. The first
step in constructing this solution is to remove
the queue, and assert that the individual, upon
being offered the chance to experience total
freedom, will appreciate the fact, and behave
PAGE 34
in sync with the initiative. The second step is
about offering ‘Gold Class’ comfort to everyday
patrons, that sends a clear message— the Village
brand cares about community, hospitality,
and equality. These values instilled will offer
individuals the opportunity to conceive better
visualisations of the Village brand and provide
memorable experiences that exonerates
past feelings and re–charges Village’s legacy
of great story–telling. Movies already do the
ground–work, all that’s required is great service
and nurturing the spirit of the movie theatre.
PROTOTYPE EXAMPLES
In answer to the brief, the following pages
contain 3D rendered interior designs that
illustrate a solution based on the supporting
evidence. These images on page 33 and
34 are photos of the current foyer design
PAGE 35
PAGE 36
at Century City Cinemas in Glen Waverley
(Village owned). In response to the brief, I have
modelled a re-design of this cinema, based
on what has been learned in this project,
as an ideological basis for future cinema
development. The prototype foyer design is
imagined in the images on pages 35–37.
Please note these points when
examining the illustrations:
• These designs were created from
estimations only and without
architectural drawings.
• Designs are not to scale.
• Some items may be missing from
original i.e. supporting columns.
• Some 3D objects were not available
at the time of rendering. For all intents
and purposes, airport check–in stands
represent familiar ticketing counters.
• Mini–food court shown here is larger than
intended and is for illustrative purposes only.
This foundational prototype is designed around
the experience of full patron enjoyment and
freedom as emphasized in the research.
As customers enter the cinema, they are greeted
with an ample number of electronic kiosks
for ticket purchases. Once tickets have been
purchased, a public lounge is provided as a
waiting area, or for food consumption. A mini-
food court is an optional addition (depending on
commercial space), and there are large spaces
for crowds if there is need for re-arrangement—
such as in the exhibition of feature films.
Traditional ticket counters are shown here
only for the purpose of busy periods, as the
aim is to eliminate the queue and streamline
the customer journey. Also illustrated is the
addition of a VIP lounge area for affluent or older
demographics and for those seeking a private
area to entertain friends etc. I would describe this
design as reminiscent of a casino –styled layout.
FEEDBACK ON PROTOTYPES
A brief presentation of the final prototype was
conducted at Swinburne University under the
supervision of Simone Taffe. Initial feedback
from Village management was positive, and
the work was described as a great example
of the community aspect. The audience was
also inspired by the effort, and I am receiving
continued support by responses from other
students. Outside of the University, my work has
received a stunning response from family and
friends, and I have begun to receive excellent
feedback and some criticism on the work.
ADVANTAGES OF PARTICIPATORY DESIGN
Without conducting appropriate research, a
design solution may fail without question, and
this is a risk Village Cinemas cannot afford in
the current economic climate. Opting to use
Participatory Design in researching a design
solution is the best procedure adopted to
solve this brief, as the targeted audience (the
end–user) is the main source of income .
Emotion is a value that is consistently changing
and occasionally erratic in behaviour, and it’s
measurement or indexation is as difficult as
indexing customer experience. In this project, the
use of Co-Design ideologies proved immensely
helpful in retrieving some of the most detailed
responses to qualitative and quantitative
research that I have ever encountered on a
design project. Conducting PD workshops goes
PAGE 37
beyond the tried–and–true method of the focus least 3 PD workshops and follow–up surveys
group. By mixing methods of proven research to determine the effectiveness of the delivery
with the progressive data accrued during and to accumulate enough supporting data to
this design process, it has allowed for a fuller formulate conclusions.
understanding of the user’s needs–specifically I believe there are no foreseeable
in terms of emotional values attached to disadvantages working against the use of PD in
experiences. Allowing participants to express any problem–solving exercise, as this technique
themselves naturally is not only a rewarding is designed for use with the end–user in mind.
experience to observe, but also to the designers If the designer has a good contingency plan,
benefit, which can confirm and enhance the and there is enough open–mindedness and
responses given in confidence in the
the activities. The design team, then
designer can record there is little that
behaviours and
attitude patterns
PARTICIPATORY cannot be gained.
In this project
which can underpin DESIGN there were initial
and amplify the assumptions that
research effort, the uptake of the
lending a third strategy would
dimension to the not be received
strategic process. well by upper
PD can be much management, or by
more than a single any other corporate
brainstorming stakeholders. By
session. Confirmation gaining confidence
on direction and in the peer–
supporting research reviewed research
is strengthened, encountered, I
allowing the designer could proceed
to form a well– with the project
rounded solution in without doubt or
a carefully crafted apprehension. It
strategy. was also observed
On the occasion that the workshop
if any hurdles are was perhaps not
encountered it has taken seriously, or
been observed not as seriously as
that a good fail- it should be. This
safe strategy be is also another
employed. I did not advantage of PD,
want to assume a where observation
huge response from can determine
any of my research the viability or
efforts, so it was acceptance of
wise to adopt a the strategy with
contingency plan the stakeholders
in case a deadline involved. If in
is reached without doubt, a survey or
sufficient evidence to argue the proposition. In interview with all the corporate participants
this project I needed to plan for any shortage could reveal why the strategy was not well
of results, so after determining a strategy for received, especially when there is so much
the delivery of the PD workshop, I devised evidence to support it. The essence here is
an online survey which would be distributed that knowledge can be garnered from all
throughout social networks following the aspects of PD strategy, earning the designer
completion of the workshop analysis. This vital information and maturity in the practice.
would create enough data to triangulate with After this successful experiment and excellent
primary and secondary research, and bring the project results, I would highly recommend
project to its conclusion. That is why I would PD procedures and techniques in any design
recommend that any design project include at strategy or problem–solving exercise.
PAGE 38
APPENDIX 1

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