Why every organization needs a human-centered design hallway: lessons from the Akron-Summit County Public Library
Have you ever heard of human-centered design hallway? Neither had I, until I spoke with Jennifer Stencel, the branch manager and teen librarian at the Akron-Summit County Public Library’s Richfield branch in Richfield, Ohio. (Richfield is between Cleveland and Akron, in case you didn’t know.)
I met Jennifer at the Museums and the Web conference in Cleveland last spring, and was intrigued when she replied to one of my tweets and mentioned the “human-centered design hallway” in her office. In our conversation, Jennifer shared her “lighter, quicker, and cheaper” philosophy, and detailed how she created a scrappy, makeshift space that is transforming the library from the inside out, making it a more human-centered place for the community.
. . . . . . . .
Dana Mitroff Silvers (DMS): I want to hear how you are using human-centered design, but first you have to tell me about this concept of a human-centered design hallway!
Jennifer Stencel (JS): We have a service hallway where all of our library staff walk back and forth. Everyone uses it—student shelvers, IT staff, circulation staff, the maintenance and cleaning crew, etc. My team was taking an online course in human-centered design, and we got an idea: this hallway would be an ideal location to make our work visible as we started to explore human-centered design.
We put books, resources, and materials in the hallway, located on makeshift tables made of shipping crates. We have a stack of Post-its and pens, and any staff member can add thoughts or insights when passing by.
We also have personas posted in the hall so we don’t forget who our users are. Now, every time we walk through the hallway, we think about our specific users, like “Kate,” the working mom.
Having everything visible has made our staff more aware of our work, and more connected to our patrons. Our IT guy was one of the first people to add what I call “Aha! insights” to the wall. He was very excited to see the space, and we dedicated an entire pack of blue Post-its and a Sharpie pen just for him!
DMS: What advice do you have for other organizations interested in setting up their own human-centered design hallway?
JS: It doesn’t take much to set up a hallway. In a way, we followed a step in the design process: Prototype. We prototyped a space using what we had: crates for a table, a few Sharpies from the office supply cabinet, and thumb tacks and tape to hang everything. The pen holders are made out of envelopes, and we spent a few bucks on Post-its. We printed out the various guides, which were free. We took free (online) courses. What did we have to lose? Look what we had to gain!
I’ve found that it just takes two people: two people standing in the hallway, holding Sharpie markers, working with colorful Post-Its of various sizes, ripping them off and slapping them to a wall. It attracts others. It looks like there might be an interesting party going on!
The walls become a gallery of thoughts and “Ah-ha!” moments. When you see the hallway, you can’t help but stop in your tracks and read, no matter how many times you’ve walked by. It grows very organically.
DMS: How did you first get interested in human-centered design?
JS: When the recession hit, all libraries experienced it. We were—and still are—asked to do even more with less. That’s how I got into design thinking and human-centered design. It was a way to do more with less. In libraries, our users are changing. Because you can Google anything now, people are asking why we need libraries. We are adding more and more services for the public. When we did a Systems Analysis, plugging in all the new services we’ve added over the years, we joked that it looked like we are in an identity crisis! So we have to justify who we are and why we matter.
Then I came across an online course offered through +Acumen, and asked my circulation staff if they were interested in participating. Four of us took a class and worked on a real problem we were experiencing at the library.
DMS: Was it hard to introduce human-centered design methods and processes at your library?
JS: Not at all. My staff was open to it. It’s easy for us to do ethnographic studies. The patrons are right here. We can walk right out and ask people questions.
And when you go through the human-centered design process and have an “Aha moment,” that adrenaline keeps you going. And then when we present something to the administration that we prototyped for $50 and show them the results, that’s a real high.
DMS: What is an example of a type of problems you have you tackled with human-centered design?
JS: We are located in a rural area, and you have to drive everywhere. There are several companies here that employ lots of people—7,000 people enter Richfield every day. But they drive to work, get off the freeway, park, go into their offices, and rush home at the end of the day.
And what do they do on their lunch breaks? They sit in their cars in the business park! There is no gym here, many of these workers don’t know we exist, they are strapped for time, and there is nothing here they feel a part of.
So one of the problems we focused on was that many of these employees at the local businesses feel disconnected from the community. And that was our challenge: how might we connect with these people and make them feel more a part of this community?
DMS: So what kinds of solutions did you come up with?
JS: Well, some libraries have mobile mini vans or book bikes, but a van was too costly for us, and same goes for the book-bike, which can run $2-$3K. And you can’t bike around here because it’s all country roads with trucks rushing by. So, the constraints were that we had to be able to transport materials that would fit into the trunk of a car, take up one parking space, and still have place-making appeal.
And we came up with a pop-up library that I can pack into the back of my Subaru and set up during lunch in the business park in summer. And when the business people come out at lunch, I’m there!
The whole thing cost $300, but I had to justify my supply budget, like the bistro table from Walmart. I bring garden games, like Garden Jenga and a huge carpet you can play checkers on, a carpet, and some cardboard virtual reality headsets. So, in addition to books, there is other fun stuff.
DMS: Is it hard to do this work with so many constraints?
JS: I think this process works better when you have constraints. The idea is to look beyond and around the constraints for what is feasible, useful, and desirable.
DMS: What was the reaction to the pop-up/mobile library?
JS: Some of the workers in their early 20s are very excited to have me back next summer. What they told me was, “We are so bored, there is nothing to do around here, and you break up that monotony.” And the mayor and one of the local businesses also said they can’t wait for me to come back.
We’ve learned that the pop up library is incredibly versatile. For example, we took it to a local community day. I swapped out the business books for board books, popular non- fiction books, and magazines for kids.
And then a few months later, I took the pop up to a conference, World Information Architecture Day at Kent State. I set up in the back of a conference room. The games had to stay home, but I brought UX/IA books and magazines.
So, while it’s not revolutionary, we are fitting into the lives of our busy patrons and providing value and meaning. We’re not just sitting here scanning books—we’re thinking about problems we hear from our community.
DMS: Any final words of advice?
JS: It always helps to have at least one other person interested, or at least intrigued with the idea and the process. If you are working under constraints but find yourself itching to try new things, the design process is perfect for making something happen. The process is an attractive approach because it executes a brilliant place-making concept: “lighter, quicker, and cheaper.”
It’s lighter because you are testing an idea bit by bit. It’s quicker, because if the idea fails, it fails early, so it is easy to either pivot and try again or table it. It’s cheaper because you’re prototyping in steps and pieces.
When you are done with the process, hopefully with something successful, you will have a solid, strong idea to move forward. And then you can ask to go bigger and more expensive with confidence.
Follow Jennifer and the Richfield Branch library on Twitter here.