Why information architecture is important for designers
Sitting inside any beautifully crafted and designed digital product, there must be a fully functional and considered information architecture.
As much as information architecture shouldn’t be developed in a vacuum. Neither should the design and look of digital products. In fact, a large proportion of the function of digital designers is devoted to supporting users locating content they need and driving them towards content that the product owners want them to find.
Incorporating visual markers to make sure that certain content is distinct from the rest or creating layers that demonstrate the diverse content on a product.
If you do not have quality content, it is impossible to design a quality digital product. It all comes back to creating a user experience that makes sense and is designed to make task completion simple. And this relates back to designing the product with the content planned for it in mind.
8 Principles of information architecture, according to Dan Brown 🏗️
As a designer, the more you know about information architecture, the better the products you design will meet your user requirements and deliver what they need. If you work with an information architect, even better. If you’re still learning about information architecture the 8 Principles according to Dan Brown is a great place to begin.
If you haven’t come across Dan Brown yet, you have more than likely come across his 8 principles. Dan Brown is one of the UX world's most prolific experts with a career that spans most areas of UX designs. He’s written 3 books on the subject and experience across a multitude of high profile projects. Aiding large organizations to make the most of their user experience.
The principle of objects: Content should be treated as a living, breathing thing. It has lifecycles, behaviors, and attributes.
The principle of choices: Less is more. Keep the number of choices to a minimum.
The principle of disclosure: Show a preview of information that will help users understand what kind of information is hidden if they dig deeper.
The principle of examples: Show examples of content when describing the content of the categories.
The principle of front doors: Assume that at least 50% of users will use a different entry point than the home page.
The principle of multiple classifications: Offer users several different classification schemes to browse the site’s content.
The principle of focused navigation: Keep navigation simple and never mix different things.
The principle of growth: Assume that the content on the website will grow. Make sure the website is scalable.
It’s highly likely that you’ve already used some, or all, of these IA principles in your designs. Don’t be shy about mastering them, or at the very least be familiar. They can only help you become a better user experience designer.
Wrap up 🌯
Mastering the 8 principles, according to IA expert Dan Brown will see you mastering the complex tasks of information architecture. Understanding IA is key to creating digital designs with a content structure that is functional, logical and just what your users need to navigate your product. Design without good IA doesn’t work as well, just as a content structure without a well designed interface will not engage users.
According to Abby Covert, author, teacher and community leader in the field of information architecture (IA) : ‘IA is the way we arrange pieces of content to make sense when experienced as a whole. By this definition: there is information architecture in everything. Mindblown?’
😮 (That’s a resounding yes from an IA rookie like me.)
In this issue of CRUX we go in search of information architecture and have some surprising encounters in the worlds of emoji, elevators, walking tracks, games and more. We meet UX designers, developers, researchers and even a Senior Park Ranger. It seems you can have your ‘IA hat’ on without even realising it. That’s the power of information architecture.
Some highlights from this issue:
UX research and strategy specialist, Q Walker explores the world of emoji from an information architecture perspective and sparks curiosity along the way. Have you ever wondered why clock emojis are organized under travel and places? 🤔
We talk to Senior Park Ranger David Rogers about the thinking behind creating and building New Zealand’s national walking track network and reveal how information architecture can also live ‘in the wild’.
UX developer Ben Chapman delves into the classification systems of libraries over time and ponders the pros and cons for users of moving information online.
We talk to Sam Cope, Lead UX Designer at Wētā Workshop’s Interactive division about what it takes to drive design decisions with the end user in mind - something crucial for any video game’s success, whether it’s a blockbuster or something more niche.
And much more about information architecture in unexpected places….
The stories and people in this issue of CRUX certainly captured our imagination and attention - we hope they inspire and even surprise you too.
Do you have a burning idea to share or a conversation you’re dying to kickstart that’s of interest to the world of UX? Now’s your chance. We’re already on the lookout for contributors for our next edition of CRUX for 2022. To find out more please drop us a line.
What is information architecture (IA) without its complementary elements? On this blog we’ve already discussed the information architecture elements of taxonomy and ontology, and now it’s time to take a look at choreography. While taxonomy refers to how information is grouped, classified and labeled and ontology refers to the meaning behind our words, choreography describes the rules for how all those parts should interact.
Choreography is essentially the nuts and bolts that bring organization, structure and meaning together to form one well-oiled machine that supports, enables and delights users on their path to task completion within a specific context.An often overlooked element of information architecture, nailing your choreography is essential to the delivery of a seamless user experience because it is present in everything your users will do on your website.
Understanding choreography and IA
Coming back to our house analogy from my taxonomy blog, choreography would be present throughout the entire house determining how everything works together. It’s in the positioning of the door handles and hinges to enable easy access and use of rooms and so you don’t swing an open door into a shower screen or into the knees of a toilet user (who should have locked the door anyway). Choreography appears in open plan living environments seamlessly flowing from one space to the next. The way that the laundry is usually a room that includes an external door allowing an easy workflow from storing the dirty clothes, to washing them to hanging them outside on the line to dry. These are all examples of choreography.
In the context of a website, choreography is present in a number of different website elements. These might include: the rules for how a menu might respond or behave under specific circumstances, the way the user interface adapts to suit different devices, the hierarchical relationship between content and much more.
Choreography examples
To help you understand how choreography might appear in a website IA context, I’ve scoured the internet and have found 3 interesting examples I’d like to share with you.
Mental Floss
Mental Floss is an online publication designed for curious minds — sounds awesome! But the thing I find most interesting is the choreography that is present in the surfacing behavior of the top navigation menu. There are two different ways to access its content: you can either click on the big orange menu button in the top right hand corner and you’ll get everything in one hit — including the footer links (see two images below) — or you can scroll down or up the page and it will automatically drop down and become sticky giving you just the level 1 IA headings and that sticky orange menu button (see third image below).
Mental Floss as it appears when I first open the home page.
When I click on the big orange button
Now look what happens when I scroll a bit.... Ta da!
If you go with the scrolling option, you’re not going to miss out because Mental Floss appears to have been designed to be explored — might have something to do with that curiosity thing! All the links that live under the big menu button are distributed throughout the long scrolling page, so when you’re exploring the content, you also get everything! If you get really stuck, that sticky orange menu button is always there to help. If I scroll I get one thing and if I click I get something else, but no matter how I choose to consume the content I get access to everything without having to think about it. This website’s choreography supports both exploratory and direct navigation styles and brings all the parts together.
IKEA US Inspiration page
Part blog, part catalogue, part how-to hub, the Inspiration page on IKEA’s US website is a fascinating IA example because it exists outside the patterns used on the rest of the website. It’s like an IA within an IA. While the rest of the website has a wide rigid structure typical of large IAs, the Inspiration page (also titled ‘IKEA Ideas’) is more organic and is organized by content tags and is navigated by filtering (see below).
The IKEA Ideas homepage and tag cloud.
The tag cloud-like thing displays the content tags in alphabetical order. Each piece can be assigned up to four tags and users can filter by clicking or just peruse the whole lot by scrolling. Upon clicking a content tag, the piece selection below is automatically updated to only include pieces with the selected tag.Choreography on this part of IKEA’s US website is present in the relationship and behavior of the content tags and how that affects the information on the page.
Do nothing for 2 minutes
Do nothing for 2 minutes has a completely flat IA and its choreography is present in the way it responds to user behavior and the way it presents visual and audio content. The website opens to a single page (see below image) showing an image of a beautiful sunset at the beach accompanied by the soothing sound of waves gently crashing and a group of seagulls fighting over a pickle someone tossed them from a McDonald’s cheeseburger (maybe that was me). It gives me a very clear instruction to “do nothing for 2 minutes” and presents a timer that immediately starts counting down.
A relaxing scene on the 'Do nothing for 2 minutes homepage'
In the centre of the screen in that sunlight created highlight are the the words “Just relax and listen to the waves. Don’t touch your mouse or keyboard.” It’s a bit hard to read and I didn’t instantly notice it but when I don’t follow its guidance, the timer resets and tells me to “try again”(see below image).
When I fail to do nothing, the timer resets
When I comply with its instructions, the clock ticks down and when there are just 40 seconds to go something magical happens — the wave sounds stop. It’s not jarring or surprising, in fact it actually felt like I dropped to a deeper state of relaxation. Like an experienced lead dance partner, this website’s choreography pushes and pulls the follower where it wants them to go. The rule here is: if I touch my mouse or keyboard, the clock resets, and if I follow the instructions, I get to access an additional layer of relaxation when the sound drops off. It forces me to take 2 whole minutes of out my day in a strict but supportive way.
When I reach the end of the 2 minutes, I’m congratulated and shown an advertisement for a book to help me further explore this technique. I usually hate seeing things like that but I don’t mind in this case because it doesn’t come across as pushy and it’s already given me something.
Refining the choreography of your IA
When you break it down, choreography is about behaviors and relationships between all the pieces of the IA. It’s about which parts go together, what they do and how that fits in with everything else. Think content pairings in a card sort and the hierarchical position of content within the IA’s tree structure — why do those cards go together and why does label Y appear directly before label X? These choices are deliberate; it’s not just a case of “Oh let’s just put them wherever,” or “I’m going to whack a certain label at the very top because my boss told me because that’s where he thinks it should go.” Choreography exists throughout your entire IA and like everything else, all refinements must be determined by user research.
When running a card sort, pay close attention to:
card pairings
cards that are consistently not paired
the hierarchy of cards within each group (card order)
the conversation between your participants (moderated card sorts only) for insights into the logic behind the pairings and hierarchical positioning
Cards that are paired — or not — as well as their hierarchical placement can not only provide insight into your users’ taxonomical expectations but can also help you identify relationships (or lack thereof) between content and elements. Say you were running a card sort on an intranet and two cards labeled ‘Annual Leave’ and ‘Public Holidays’ were consistently being grouped together under ‘Human Resources’. What’s their expected relationship and interaction beyond the subject matter connection? Does one appear before the other? Is one linked to the other one’s page? Or are they together on one page and if so how do they interact? (if at all). For moderated card sorts, listen closely to the conversation for insight into this and be sure to ask your participants about anything you’re not sure of.
If your IA is a bit further along in its development or you’d like to evaluate an existing IA, tree testing can help you understand the choreography that will best support your users.
Keep an eye on:
the location of the first click
the pathways followed
The pathways followed by participants in a tree test will help you determine the right sequence of interactions required by a user to reach their goal — the ultimate step by step flow to task completion. What order do the labels need to be in? And what lives underneath them? And again, in what order?Think of it like a path through the woods to a lake. Your IA’s choreography should enable your users to be seamlessly guided along a smooth pathway made of big stone steps. They shouldn’t be running into trees or bushwhacking to create their own pathways.
When looking at a tree test, consider how many of your participants did not follow the pathway/s you defined as correct. Where did they go instead? What does the right path look like to your users? Also look at where the all important first click landed. If users start out on the correct first click, they are almost 3 times as likely to reach their goal. If your participants started out on a different first click, you’ll need to explore why that is. It could indicate ambiguity in the labels, it could also be a sign of an expectations mismatch, a hierarchical issue or it could be something else entirely! The tree test will help you identify where the issues are, but you’ll need to go and have a conversation with your users to understand why it’s happening.
Unless more than say 80% of your participants achieved direct success in reaching their goal (meaning they never strayed from the big stone path that you defined) you’ll need to check these things anyway to resolve findability and usability issues. Choreography related insights are an extra thing you can pull from what you’re already doing. And of course always remember that any choreography related data has to be considered in conjunction with whether or not the labels are even correct. Choreography is just one piece of the puzzle; it sets the rules for how all the parts interact and isn’t going to be much help if the parts aren’t even right in the first place!
Choreography in information architecture might be one of the most overlooked elements but it’s not hard to give it the time and consideration it deserves and your users will thank you for it!
Innovation is at the core of revenue growth - finding new ways to create and capture value. The reason most innovations fail is not because they don’t work (organizations are very good at building products and services with features and benefits), they fail because they don’t create value on dimensions that drive customer choice. If you don’t understand the causal drivers of customer choice, then you’re largely shooting in the dark and at risk of creating something that customers don’t choose above the alternative market solutions.
Chris Green, Head of CX and Innovation at Purple Shirt, recently spoke at UX New Zealand, the leading UX and IA conference in New Zealand hosted by Optimal Workshop, about the Jobs to be Done (JTBD) methodology and uncovering the causal drivers of customer choice in innovation.
In his talk, Chris talks us through JTBD methodology, how to use it, and how it will change the way you think about markets and competition.
Background on Chris Green
Chris has a long and deep background in strategy and innovation. Chris cut his strategy teeth in the UK before moving to New Zealand in 2000 where he led various strategy teams for organisations like Vodafone, Vector, and TelstraClear. He moved to Australia in 2011 where he started to develop his expertise in the emerging field of innovation. He sharpened his innovation knowledge and skills by studying under Professor Clayton Christensen (the godfather of modern innovation theory) at Harvard University and went on to lead one of Australia's leading innovation consultancies where he helped organizations run innovation projects and build innovation capability.
Chris returned to New Zealand at the end of 2021 to lead the innovation practice of Purple Shirt, a UX design consultancy with offices in Auckland and Christchurch. In his spare time, you'll find Chris out on the water learning about foiling boats and boards.
Jobs To Be Done methodology and its role in driving customer choice
In this talk, Chris is specifically speaking about UX research in the context of building new products and services, not optimizing existing ones. He answers a critical question - how can we improve our odds of success when we launch something new to market?
Performing UX research for products and services that already exist is very different from totally new ones. Why? Generally, it’s because customers of existing products are good at recommending improvements for things that they already know and use. They are good at this because they have user experience to draw from. The famous Henry Ford quote illustrates this well; “If I’d asked our customers what they wanted, they would have told me faster horses.”
Just because customers are giving researchers helpful and constructive feedback on a product or service, it doesn’t mean you should implement these improvements. In a user-focused discipline, this can sound counterintuitive, but when it comes to new products and services, UX researchers should be careful in relying on user feedback absolutely.
Chris argues that customer feedback can sometimes lead us in the wrong direction. Assuming that a customer will choose our product if we simply implement their feedback is problematic. Chris stresses the difference between implementing changes that drive improvement versus implementing changes that drive customer choice. They aren’t the same thing. Many businesses continually release new features, but rarely do these new features drive or improve consumer choice. Yes, a new feature may make the product better than before, but does it make it so much better that it makes customers choose your product over others?
Causal drivers of choice 🤔
When researching new products the most critical thing to understand is this - what causes someone to choose one product over another? If you don’t know the answer, you’re guessing about your product design from the very beginning.
Traditionally, market research (typically driven by marketing departments) has been poor at finding causation. Market research tends to find correlations between customer attributes and customer behavior (e.g. people in a certain age bracket buy a certain product), but these correlations are quite shallow and do little to inform true drivers of choice. A lack of causal studies can be explained by the fact that they are difficult to conduct. They need to uncover deeper, root causes of human behavior, rather than high-level trends to be truly useful.
So, how can find causal drivers of choice? And why does it matter?
Why it matters 🔥
The best method for uncovering the causal drivers of choice was invented by Professor Clayton Christensen. Chris describes him as the guru of modern innovation theory. He invented Disruption Theory and Jobs to be Done (JTBD) methodology. His fundamental insight was this – researchers shouldn’t be worried about the customer, instead, they should be interested in what they’re trying to achieve.
Christensen’s JTBD methodology is about understanding the various things that people need to complete in certain contexts. He argues that we, as consumers and customers, all look to “hire” products and services from businesses to get things done. We make a decision to buy, hire, or lease products or services into our lives in order to make progress on something we’re trying to achieve.
These jobs to be done can be split broadly into three categories (which aren’t mutually exclusive):
Functional: Tasks that I want to complete
Emotional: How I want to feel
Social: How I want to be seen
Value creation opportunities arise when the currently available solutions (products/services in the market) are not getting the jobs done well. This “gap” essentially represents struggles and challenges that get in the way of progress. The gap is our opportunity to build something new that helps people get their jobs done better.
Chris uses Dropbox as a good example of an innovative company filling the gap and addressing a need for people. People found themselves “hiring” different solutions or workarounds to access their files anywhere (e.g. by emailing themselves and using USBs). Dropbox created a solution that addressed this by allowing people to store their files online and access them anywhere. This solution got the job done better by being more convenient, secure, and reliable.
The strategic relevance of “jobs” 🙌💼🎯
Using the JTBD methodology helps to change how you see the competitive landscape, thereby providing an opportunity to see growth where none might have seemed possible.
Chris uses Snickers and MilkyWay chocolate bars as examples of similar products that on the surface seem to compete against each other. Both seem to sit in the same category, are bought in the same aisle, and have similar ingredients. However, looking at them through a “jobs” lens, they address two slightly different jobs. A Snickers is bought when you need fuel and is more a replacement for a sandwich, apple, or Red Bull (i.e. it is a product “hired” to prepare for the future/get an energy hit). A MilkyWay on the other hand is bought to make people feel better, eat emotionally, and is more of a replacement for ice cream or wine (i.e. a product “hired” to cope with the past).
Chris’s talk helps us to think more strategically about our design journey. To develop truly new and innovative products and services, don’t just take your users' feedback at face value. Look beyond what they’re telling you and try to see the jobs that they’re really trying to accomplish.
