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Design with Intent:101 patterns for influencing behaviour through design

Dan Lockton with David Harrison & Neville A. Stanton

ISBN 978-0-9565421-0-6 (printed cards); ISBN 978-0-9565421-1-3 (eBook). First publishedonline April 2010; printed version May 2010. Minor revisions 2011, 2012.

This is a non-commercial work, with printed editions sold to cover costs only.Published by Equifine, an imprint of Requisite Variety, St Margaret’s, Middlesex, UK

Many thanks to everyone who has helped with the development of the Designwith Intent toolkit, including taking part in workshops, commenting on theresearch as it has progressed, and reading the blog. Thanks too to the OrmsbyTrust and the Thomas Gerald Gray Charitable Trust who have enabled me topursue my PhD at Brunel. And thank you to Harriet, for her endless patience.

You can download these cards, free of charge, let us know how youused them, and complete a survey to improve future versions, at:

designwithintent.co.uk

With the exception of certain images, the proprietors and nature ofwhich are identified on the introduction card for each lens, this workis licensed by Dan Lockton under the Creative CommonsAttribution-Noncommercial-Share Alike 3.0 licence, available at:creativecommons.org/licenses/by-nc-sa/3.0 or by writing to: CreativeCommons, 171 2nd Street, Suite 300, San Francisco, CA 94105, USA.

This is Tiresias Infofont, made available under the GNU GeneralPublic Licence by the RNIB, and available from tiresias.org

All trademarks depictedincidentally in this work remainthe property of their proprietorsand are used here solely forillustration and review purposes

Dan Lockton specialises in interactiondesign for behaviour change, persuasivetechnology and sustainable design. He doeconsultancy, workshop facilitation andresearch as Requisite Variety, and iscurrently a research fellow at WMG,University of Warwick and a researchassistant at Brunel University in London,working with startup CarbonCulture onreducing workplace energy use throughuser-centred design for behaviour change.

He is also a visiting practitioner at CentralSaint Martins School of Art & Design.

Dan has a BSc in Industrial Design Engin-eering from Brunel’s former Runnymededesign school, a Cambridge-MIT InstituteMaster’s in Technology Policy from theUniversity of Cambridge’s Judge Institute,and is completing his PhD at Brunelcurrently. Before returning to Brunel, heworked on a range of design and productdevelopment projects, including ultra-lightbike design for Sinclair Research.

Since 2005, the Design with Intent blog(danlockton.co.uk), originally titledArchitectures of Control in Design, haslooked at the interface between designedsystems and human behaviour.

requisitevariety.co.uk [email protected] @danlockton

Professor David Harrison is Head of DesignResearch at Brunel University, andspecialises in reducing the environmental

impact of technology via novel manufacturing methods and design process innovation

Professor Neville A. Stanton is Chair ofHuman Factors in Transport at the Universiof Southampton, and is an internationallyrecognised expert in ergonomics and humaperformance in technological domains.

Requisite Variety



Introduction How to use the cardsEach pattern / gambit is phrased as aquestion — a provocation to invitediscussion about the behaviour changequestion or brief you’re considering*. Thelandscape format means it is easier for twopeople to look at a card together.

Lens-by-lensLay out all the cards, grouped by lens, andgo through each lens seeing whether the

questions inspire any conceptsfor addressing your problem. Ingroups it often works well for oneor two people to take a lens eachand discuss together, then all‘report back’ to everyone else.

Analyse existing idea spacesTry using the cards to drawout some of thebehaviour-influencingprinciples behind products,

services or environmentsyou‘re familiar with, and see ifthere are gaps or opportunities to

explore further. Printing the cards onto sticker papercan be useful here for ‘annotating’ real items.

Models of the user

Works best with three or more people. Using the‘Pinball’, ‘Shortcut’ and ‘Thoughtful’ cards, each persoshould try to generate ideas sticking to one of themodels, then explain (and defend) them to the rest ofthe group.

Target behavioursUsing the ‘Target behaviours’ card as a starting point,try to frame your problem in terms of a targetbehaviour, and keeping this is mind, look at the cardssuggested as most applicable.

Random pairingsPick two cards at random, perhaps from differentlenses, and think about the possibilities of applying thideas to your problem, both individually and together.

Weekly idea101 cards means that every week for two years youcould have a new card ‘on show’ as a talking point in

the office to inspire creative thinking**.Your own way If you‘ve found your own way to make use of the cardslet everyone know! Write about it, or email me:[email protected]

*I’m grateful to Nedra Weinreich for suggesting the‘question’ approach. **Hat tip to Zoe Stanton ofUscreates for this idea.

All design influences our behaviour, but as designers we don’t always consciouslyconsider the power this gives us to help people (and, sometimes, to manipulate them).Whether we mean to do it or not, it's going to happen, so we might as well get good atit — and understand when it’s being done to us. There’s a huge opportunity for designfor behaviour change to address social and environmental issues, but as yet little in theway of a guide for designers and other stakeholders, bringing together knowledge fromdifferent disciplines, and drawing parallels which can allow concepts to be transposed.The Design with Intent toolkit (these cards and the accompanying wiki, at

http://designwithintent.co.uk) aims to make a start on this task.I use Design with Intent to mean design that’s intended to influence or result in certain userbehaviour — it’s an attempt to describe systems (products, services, interfaces, environments)that have been strategically designed with the intent to influence how people use them. Thetoolkit has evolved from an attempt at a very structured method for prescribing particulardesign features, to a loose concept generation tool, provoking design ideas by asking questionsand giving examples of particular principles in action. This evolution is a result of runningworkshops with designers and students, and seeing what works and what doesn’t. But theprocess isn’t finished, and your feedback on how you’ve used these cards, and how to improvethem, is very much appreciated — please see the card ‘How you can help’.

Structure of the toolkit

The cards are grouped into eight ‘lenses’ representing different disciplinary ‘worldviews’ orfields of research. Each lens has an introduction card which explains a bit more of thebackground. It’s a loose taxonomy and many cards would fit happily in other lenses: the pointreally is to encourage designers to think about behaviour change from different perspectives.

Equally, the dividing lines between lenses are relatively fuzzy: if arrangedas a series of segments as shown here, moving from each lens to the nextclockwise or anti-clockwise only requires a small shift in thinking. The‘environment‘ and ‘mind’ labels are tentative but reflect the general focusof the lenses, with those at the opposite corners involving most overlap.

Is this a design pattern library? Sort of. The idea of design patterns, drawnfrom Christopher Alexander's work in architecture, has been adoptedthroughout programming and human-computer interaction. This lattercontext has influenced the form of DwI, with a large dose of both TRIZ andIDEO’s Method Cards. However, the DwI cards are more like provocations —‘Can you do this with your design?’ — than the established ‘Use this

when...’-style of the design pattern structure. At present we just don't haveenough evidence about what works and what doesn't in different situationsto be able to be that specific, although in time this will change.

Bryan Lawson has used the term ‘gambit’ to describe the ‘repertoire oftricks’ that experienced designers can bring to bear on a problem; the key ispattern recognition of the problem and quick matching to possible moves toaddress it, and is is hoped that the DwI cards fit this approach. So, for themoment, I'm using both ‘gambit’ and ‘pattern’ to describe each DwI card.

A r c h i t e c t u r a l

E r r o r p r o o f i n g L u d i c I n

t e r a c t i o

n

M a c h i a v e l l

i a n

S e c u r i t

y

C o g n i t i v e

P e r c e p t u a l

The eight lenses of the toolkit

Environment

Mind

E I

M C

A

S

L

P

A

M

L

C

P

I

E

S



Modelling users: PinballsIn Designing for Interaction, Dan Saffer notes “designers have to giveup control (or, really, the myth of control) when designing a serviceprocess.” Nevertheless, many products, services and environmentshave aspects where a degree of control is desired, often for safety orsecurity reasons. If a bank has a row of ATMs, it doesn’t wantcustomers at adjacent machines to stand too close together, so it

spaces them far enough apart for this not to happen: the actualaffordances of the system are designed so that only certain behavioursoccur . In 2009 Nepal‘s Tribhuvan Airport issued staff with trouserswithout pockets, to reduce bribery by making it harder to hide cash.

This approach models users as ‘pinballs’, simple components of yoursystem, to be shunted and pushed and pulled around by what youdesign, whether it’s physical, digital or service architecture. This viewbasically doesn’t assume that the user thinks at all, beyond basic reflexresponses: there is no requirement for understanding. The interlock on

a microwave door prevents using the oven with the door open, yet doesnot try to educate users as to why it is safer. It just silently structuresbehaviour: users follow the designers’ behaviour specification withoutnecessarily being aware of it.

This view can lead to poor user experience, when the priorities of thedesigner and users conflict. Disabling the fast-forward button on yourDVD player, to force you to sit through trailers and copyright threats,provokes significant discontent. However, where interests align, betterexperience can result. A hospital which fits medical gas bottles andhoses with errorproofed ‘indexed pin’ connectors — keyed to fittogether only in the right combinations — is restricting nurses‘behaviour, but making the job easier and providing a safer patientexperience. So, the pinball approach is not always as user-unfriendly asit might initially seem, but does risk challenging people’s autonomy,and potentially reducing their engagement in the process.

Some ‘pinball’ patternThese are not definitive by any means.Note that only some lenses are included.

Converging & divergingConveyor beltsFeature deletionHiding thingsPositioningRoadblock Segmentation & spacing

Choice editingInterlock Matched affordancesTask lock-in/out

BundlingDegrading performanceForced dichotomy

Coercive atmosphericsThreat of injuryThreat to propertyWhat you can doWhat you haveWhat you knowWhat you’ve doneWhere you areWho or what you are P

h o t o g r a p h b y k t p u

p p o n F l i c k r C C - B Y - N C l i c e n s e d



Modelling users: ShortcutsWhile people are not fully predictable, there is enough psychologicalevidence that we are, at least, predictably irrational (Dan Ariely’sterm). There are recurring patterns of decision-making heuristics andbiases, and designers with an understanding of these have a powerfultool for influencing behaviour. In an economic context, this is thepremise behind Richard Thaler and Cass Sunstein's bestseller Nudge,

but designers can apply many of the same insights, with the benefit ofa wealth of user-centred research methods to test our assumptions.

People take shortcuts. We make decisions based on how choices arepresented to us, and can’t devote the same mental effort to engagewith every decision (we satisfice, to use Herbert Simon’s term). Ifsomething is the default, whether print quality or presumed consentfor organ donation, most people probably stick with it. Individually these acts might not bear analytical scrutiny – and none ofus acts like this all the time – but shortcut decisions do determine how

many people behave when interacting with systems, whether products,services or environments. We can design choice architecture to helppeople navigate the options available in a mutually beneficial way: e.g.,if your research shows that your customers make purchasing decisionsbased purely on price, it makes sense to present your choices in a waywhich makes it easy to determine which is cheapest. On the otherhand, we can also use design to help users overcome the biases whichare preventing them getting the best result, e.g. re-framing foodchoices to make healthier options more appealing.

Of course, modelling users like this risks the designer becoming part ofa ‘nanny state’, making moral decisions about ‘what’s best’ for users.To some extent this is inevitable: we just have to be more mindful ofhow the choices we make affect the lives of others, and, perhaps, bear“first, do no harm” in mind when planning to influence behaviour.

Some ‘shortcut’ patteThese are not definitive by any means.

MazesSimplicity

DefaultsOpt-outsPortions

Partial completionTunnelling &wizards

Make it a memeRewardsUnpredictablereinforcement

Colour associations

Contrast Implied sequencesMoodPerceivedaffordancesProminenceProximity &groupingSimilarity P

h o t o g r a p h

b y

D

L

k t

DecoysDo as you’retoldExpert choiFramingScarcitySocial proof

AnchoringServingsuggestionStyleobsolescencWorryresolution



Modelling users: Thoughtful This is the most optimistic view of ‘what users are like’: engaged,motivated, thoughtful people who will take every opportunity tolearn more about the world around them and their impacts on it .Thoughtful users are assumed to think about what they are doing,and why, and change their attitudes and behaviour in response toreasoned arguments, weight of evidence, education and persuasive

rhetoric. If you model your users this way, you’ll be looking toprovide them with reasons why some behaviours are ‘better’ thanothers, maybe motivating them to change their attitudes about asubject as a precursor to changing their behaviour mindfully. From adesign perspective, you‘ll probably be giving your system plenty ofinformation displays and feedback which allow users to explore theimplications of what they’re doing, and understand the world aroundthem better.

Most of us like to model ourselves as thoughtful users, even though

we know (if we’re honest) that we don’t always fit the model. It’sprobably the same with most people: so knowing when it’sappropriate to assume that users are being mindful of theirbehaviour, and when they’re not, will be important for the ’success’of a design.

It may be that the best (and least naïve) way to look at this is toappreciate that designers working on behaviour change have theopportunity to move people from a less engaged (pinball orshortcut) mindset, towards a more reflective, motivated, thoughtful

relationship with a product, service or environment. Many of thepatterns which I’ve listed here as being relevant to the ‘thoughtful’model are really about trying to get people involved or interested intheir own effects on a system, rather than assuming that everyonealready cares.

Some ‘thoughtful’ patternThese are not definitive by any means.

Conditional warningsDid you mean?Are you sure?

Feedback through formKairosPeer feedback Real-time feedback Simulation & feedforwardSummary feedback

Leave gaps to fill Role-playingStorytelling

NakednessWatermarking

Emotional engagement Provoke empathy

I cut, you choose

SurveillancePeerveillanceSousveillance

P h o t o g r a p h b y E s t h

e r D y s o n o n F l i c k r C C - B Y - N C l i c e n s e d



Target behavioursThese are an attempt to introduce a more formal ‘prescription’ mode to the DwI toolkit: matchingpatterns to particular kinds of behaviour change. Inspired by the TRIZ problem-solving method, thetarget behaviours are ‘ideal’ intended outcomes: particular behaviours which a designer (or client) wantto achieve through design. They’re an abstract classification for behaviours, expressed as goals — the 11example target behaviours in the table below have been identified by deconstructing real situations, buthis is only scratching the surface of what could be done with a more wide-ranging analysis.

I’m not entirely convinced that this is a way forward for DwI, primarily because in the workshop trials I’vrun, designers really don’t seem to enjoy using this kind of prescription method, at least in comparisonto using the cards for free-form inspiration. But I felt I should include it in this pack anyway. Athttp://behaviorgrid.org, BJ Fogg has a different take on target behaviours, based on schedules ofoccurrence, which is sufficiently general to be more scaleable than those I’ve outlined here.

Examples Some relevant patternsS1 The user follows a process or path, doing things

in a sequence chosen by the designerCustomer places order via website withoutmissing out any steps

Mazes, Positioning, Interlock, Tunnelling & wizards, Implied sequences, Serving suggestion

S2 The user follows a process or path that'soptimised for those particular circumstances

User only spends as much time as reallyneeded in the shower

Conditional warnings, Did you mean?, Are you sure? Task lock-in/out, Tailoring, Possibility t

S3 Decision among alternatives: a user's choice is

guided

Diners choose healthier meal in office

canteen

Defaults, Opt-outs, Kairos, Simulation & feedforward, Colour associations, Prominence, Proximit

grouping, Similarity, Decoys, Do as you're told, Expert choice, Framing, Scarcity, Anchoring, Fodichotomy

S4 Only certain users/groups of users can usesomething

Only users who know PIN can access bankaccount via ATM

Coercive atmospherics, Who or what you are, What you know, What you have

S5 Only users already behaving in a certain way getto use something

If a driver's travelling below the speed limit,the next set of traffic lights turn green,otherwise they stay red

Degrading performance, Threat of injury, Threat to property, What you can do, What you've d

S6 No users can use something in a particular way,regardless of who they are or what they've donebefore

Park bench fitted with central armrest toprevent anyone lying down

Feature deletion, Hiding things, Choice editing, Matched affordances, Coercive atmospheric

S7 Users only get functionality when environmentalcriteria are satisfied

Office lighting cannot be switched on ifambient daylight adequate

Interlock, Where you are

Examples Some relevant patterns

U1 Multiple users are kept separate so they don'taffect each other while using a system

Traffic follows one-way system into/out ofcar park

Material properties, Converging & diverging

U2 Users (and groups of users) do interact with, and

affect each other while using a system

Staff from different departments mix socially

in a building's atrium

Converging & diverging, Make it a meme, Provoke empathy, Reciprocation, Social proof,Peerveillance

U3 Users can't block or dominate a system to theexclusion of others

Wide pedestrian concourses prevent groupsblocking passage for others

Segmentation & spacing, Peer feedback

U4 Controlled rate of flow or passage of users Visitors to popular museum exhibit routedpast it slowly on moving walkway

Conveyor belts, Roadblock, Slow/no response

User–system interaction: influencing interactions between a user and the system

User–user interaction: influencing interaction between users and other users, mediated by the system



Architectural Lens A

The Architectural Lens draws on techniques usedto influence user behaviour in architecture, urbanplanning, traffic management and crimeprevention through environmental design (seealso the Security Lens).

While most techniques have been developed inthe built environment, many can also be appliedin interaction and product design, even insoftware or services; they are effectively aboutusing the structure of systems to influencebehaviour, while some of the patterns, such asSimplicity , Feature deletion and Hiding things arereally fundamental to design itself.

Image for Pave the Cowpaths is a screenshot of an annotatedGoogle Map on Kittelson & Associates' website(http://prj.kittelson.com/tigardtrails).All other photos by Dan LocktonFor references & further reading, please see 3.ly/archi

3.ly/archi



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Errorproofing Lens A

The Errorproofing Lens treats deviations from the ‘targetbehaviour’ as ‘errors’ which design can help avoid, eitherby making it easier for users to work without makingerrors, or by making errors impossible in the first place.It’s often found in ergonomics, health & safety-relateddesign, medical device design and manufacturingengineering (as poka-yoke): where, as far as possible,one really doesn’t want errors to occur at all. Much of thisbuilds on Don Norman‘s classic concept of forcing

functions and ‘deliberately making things difficult’ asdetailed in The Design of Everyday Things.

A key difference between errorproofing and some otherviews of influencing behaviour is that errorproofingdoesn’t care whether or not the user’s attitude changes,as long as the target behaviour is met. Attitude changemight be a side-effect, but it is not required.

Images for Defaults, Did you mean? and Opt-outs arescreenshots of CIB PDF Brewer software, a Google search for‘recursion’ and Yorkshire Building Society website respectively.All other photos by Dan LocktonFor references & further reading, please see 3.ly/error

E3.ly/error

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Interaction Lens



Interaction Lens AE

All the patterns are really about interaction design

in one form or another, but the Interaction Lensbrings together some of the most common designelements of interfaces where users' interactionswith the system affect how their behaviour isinfluenced. So there are some core Human-Computer Interaction patterns here, such as kindsof feedback, progress bars, and previews, andsome currently less-used such as feedforward.

This lens also includes patterns from the growingfield of Persuasive Technology, where computersand phones influence behaviour throughcontextual information and guidance. Amongthese are kairos, tailoring and tunnelling,identified in BJ Fogg's seminal book PersuasiveTechnology: Using Computers to Change What WeThink and Do.

Images for Feedback through form, Summary feedback and Tailoring aretaken from promotional videos/demos by Royal VKB, GreenPrint and Pam,available at http://shop.royalvkb.com/shopexd.asp?id=423&menu=2,http://www.printgreener.com &http://www.pam.com/indexc.php?demo=1&f=1&ClientTZ=-60

I3.ly/inter

Images for Partial completion, Peer feedback, Progress bar, Simulation &feedforwardand Tunnelling & wizards are screenshots of Amazon, Slashdot,Digg, LinkedIn, Wikipedia, Yahoo! savings calculator & Foxit PDF reader.Other photos by Dan Lockton.For references & further reading, please see 3.ly/inter

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Ludic Lens A

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Ludic Lens AE

Games are great at engaging people for long

periods of time, getting them involved, andinfluencing people’s behaviour through their verydesign. Yet this potential has (so far) beenunderexplored in application to other kinds ofsituations outside ‘recreation’.

The Ludic Lens includes a number of techniquesfor influencing user behaviour that can be derived

from games and other ‘playful’ interactions,ranging from basic social psychology mechanismssuch as goal-setting via challenges & targets, tooperant conditioning via unpredictable reinforce-ment and rewards, to common game elementssuch as scores, levels and collections.

Images for Collections are screenshots of the University of Washington'sUbiFit software, developed in collaboration with Intel Labs Seattle, available

at http://dub.washington.edu/projects/ubifitImages for Levels and Rewards are screenshots of Facebook/FarmVille andKPT5 software. Images for Playfulness and Role-playing are promotionalphotos kindly supplied by Steve Divnick(http://www.spiralwishingwells.com) and Tim Holley (http://timholley.de)

I3.ly/ludic

L

Image for Make it a meme is a screenshot of Regretsy’s story onGooseontheloose's chicken ponchos (http://www.regretsy.com/2009/10/20/ kentucky-frilled-chicken). Other photos/images by Dan Lockton.For references & further reading, please see 3.ly/ludic

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Perceptual Lens A

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The Perceptual Lens combines ideas from productsemantics, semiotics, ecological psychology and Gestaltpsychology addressing how users perceive patterns andmeanings as they interact with the systems around them,and puts them into forms which invite the designer to thinkabout how they might influence people’s behaviour. Mostare predominantly visual, but they need not be: sounds,smells, textures and so on can all be used, individually or incombination.

These techniques may often applied by graphic andinteraction designers in the course of a job or project withoutnecessarily considering explicitly the influence thay can haveon users’ perceptions and behaviour.

Images for Implied sequences and Nakedness are from Sludgegulper's andITDP-Europe's Flickr streams, CC-BY-SA and CC-BY licensed respectively(http://www.flickr.com/photos/sludgeulper/4188746062 andhttp://www.flickr.com/photos/38607288@N03/3836906872).Images for Metaphors, Mimicry & mirroring and Similarityare screenshots of

Tipjar.com from the Wayback Machine, Eliza chatbot from http://nlp-addiction.com anda Microsoft Bing search.

Other photos by Dan LocktonFor references & further reading, please see 3.ly/perce

3.ly/perce

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Cognitive Lens A

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The Cognitive Lens draws on research in behaviouraleconomics and cognitive psychology looking at howpeople make decisions, and how this is affected by‘heuristics’ and ‘biases’. If designers understand howusers make interaction decisions, that knowledge canbe used to influence interaction behaviour. Equally,where users often make poor decisions, design canhelp counter this, although this may lead to a ‘weknow what’s best for you’ attitude.

Dozens of cognitive biases and heuristics have been

identified which could potentially be applied todesign. The patterns detailed in these cards are someof the most commonly used; this selection drawsparticularly heavily on the work of Robert Cialdini,Dan Ariely, Richard Thaler and Cass Sunstein.

Images for Desire for Order and Personality are promotional photos from theInteractive Institute’s AWARE project (http://www.tii.se/aware/ designConcept.html) and Philips robotics (http://www.research.philips.com/ technologies/projects/robotics.html). Images for Decoys, Do as you’re told,

Provoke empathy, Rephrasing & renaming and Social proof are screenshots ofMagazines.com, the US DHS ESTA website, Twitterfall.com, Twitter.com andAmazon.co.uk respectively. Other photos by Dan Lockton.For references & further reading, please see 3.ly/cogni

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Machiavellian Lens A

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The Machiavellian Lens comprises design patternswhich, while diverse, all embody an ‘end justifies themeans’ approach of the kind associated with NiccolòMachiavelli. These will often be considered unethical,but nevertheless are commonly used to control andinfluence consumers through pricing structures,planned obsolescence, lock-ins and so on, and arecentral to work by authors such as Vance Packard andDouglas Rushkoff, revealing the ‘hidden’ structureswhich shape our everyday behaviour. In technologycontexts, Benjamin Mako Hill and Chris Nodder have

both done great work exploring this area.

Elements of game theory are present in some of thepatterns, and this is worth further investigation.

Image for Antifeatures & crippleware is from Orin Zebest's Flickr stream,CC-BY-SA licensed (http://www.flickr.com/photos/orinrobertjohn/68106611).Images for First one free, Forced dichotomyand Slow/no responsearescreenshots of Bill Moggridge’s ‘Designing Interactions’ website(http://www.designinginteractions.com/book), an example survey built using

surveymonkey.com, and a registration form on the Univadis website(http://www.univadis.co.uk/medical_and_more/Registration?locale=en_GB)respectively. Other photos by Dan Lockton.For references & further reading, please see 3.ly/machi

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The Security Lens represents a ‘security’

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The Security Lens represents a securityworldview, i.e. that undesired user behaviour is

something to deter and/or prevent though‘countermeasures’ designed into products,systems and environments, both physically andonline, with examples such as digital rightsmanagement.

From a designer’s point of view, this can often bean ‘unfriendly’ – and in some circumstancesunethical – view to take, effectively treating usersas ‘guilty until proven innocent’. However, takinginspiration from the the patterns, it’s possible tothink of ways that they could be applied to helpusers control their own habits or behaviour fortheir own benefit – encouraging exercise, reducingenergy use, and so on.

Image for Sousveillance is a screenshot of TheyWorkForYou

(http://www.theyworkforyou.com). Other photos/images by Dan Lockton,including photo of Mentor Teaching Machines textbook.For references & further reading, please see 3.ly/secur

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How you can helpI couldn’t have developed this toolkit without the help of an enormous number of people, whohave offered ideas, comments and suggestions, as well as taking part in a series of workshopsduring 2008-10, trying out earlier iterations of Design with Intent.

The job isn’t finished, however: this is only v.1.0 of the toolkit, and I’m hoping to be able to revisand improve it in the years ahead, with expansion into other forms and a lot more evidence forwhich patterns work, in what circumstances, and why.

If ’d lik t h l th th i



If you’d like to help, there are three main ways:

Surveys

At designwithintent.co.uk thereare links to a number ofdifferent surveys designed tocapture some of yourimpressions of using the cards,in different use situations(consultancy idea generation,workshop, educational project,etc). Your participation wouldbe appreciated.


Wiki

Each pattern (and each lens)has a corresponding wiki page,which, over time, with readers’input, will (I hope) grow toinclude more examples,expansions of concepts,references, clarifications anddiscussion. The wiki also oughtto allow new patterns to beidentified and discussed.


Share your examples

If you’ve got examples ofdesign for behaviour change— either your own projects, orones you’ve come acrosselsewhere — which you’rehappy to share, please do getin touch. A Design with Intentbook is planned, and it wouldbe fantastic to feature readersubmissions.

[email protected]

If you find these Design with Intent cards useful, and think your

organisation could benefit from a more detailed treatment of

Workshops, consultancy and research



1.0

Requisite Variety

g

design and behaviour change, consider hiring Requisite Variety.

We provide consultancy at the interface between people and

designed systems, across products, services and environments.

We’ve recently run workshops for Philips Research and Jaguar

Land Rover, and at the dConstruct 2011 and Interaction 12

conferences, and given internal talks for Ubisoft and Dyson.

Dan Lockton is the creator of the Design with Intent toolkit, and

Requisite Variety is applying the insights and expertise

developed through Dan’s ongoing academic research, together

with an explicit ‘systems’ viewpoint, to practical contexts.

Please do get in touch for more information, or to discuss how

we could work together: [email protected]

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