Tag Archives: customer journey

Before Someone Signs Off on the Robots

Have you seen the new robotic parking at Gatwick? It looks quite cool.

It works like this: you drive up into a garage bay, get out, scan a code, take your luggage and wander off to get on a bus to the terminal. Meanwhile, as you bump along the perimeter roads on your way to Pret a Manger and a surly greeting at security, your car is being lifted by a robot and shuffled into a parking space “fully autonomously” and presumably without the clattering of doors into each other or a young lad with a vape doing power slides in a field.

It reminded me of another experience in innovation I recently revisited: Pod Parking at Heathrow.

Ten years or so ago I tried it on a business trip to Scotland. A pre-dawn drop-off in a largely empty car park (back then it was still newish and posh enough to feel business-only), followed by the novelty of a solo ride in a pod to the terminal.

Returning this year with my son on a ski trip, it was slightly less fun.

A busy car park hunting for a space. A long walk with bags to the station. Then the ignominy of sharing a pod with other people similarly bedecked with ski equipment and making inane small talk before setting off on a circuitous, stop-start loop towards the airport.

Notwithstanding the fact that I’m now in my late 40s, travelling with rather more family paraphernalia and rather less wide-eyed consultant enthusiasm for clever infrastructure, the whole thing instead felt like a technically neat attempt to solve the wrong problem.

But before I explain why, let’s return to Gatwick’s robots.

Apparently they’re constrained a little. A fact mentioned almost in passing in the voiceover of what I assume was a press video: there are limits on vehicle weight, wheel size and wheelbase.

Plenty of people wouldn’t think twice about that. I did.

The service is marketed as a premium solution and has a five-day minimum stay. So it seems reasonable to assume a fair proportion of customers will arrive in large, expensive family cars.

Let’s say you own an i7, a Volvo EX90 or perhaps you’ve ordered the Range Rover EV. None of those can use it.

Already this premium, cutting-edge parking solution can’t accommodate a fairly representative selection of premium, cutting-edge family cars. Edge cases, perhaps, but also edge cases sitting at the leading edge of a market that is getting heavier, longer and increasingly fond of enormous wheels. The 21-inch wheel restriction feels particularly egregious.

Of course, the robots can presumably be enhanced. But significant capital has already been sunk into the system. Does the machinery now keep pace with the cars, or do customers eventually discover that their apparently ordinary SUV has fallen outside the parameters of the futuristic car park?

In any event, I started wondering whether robotic parking is actually solving a consumer problem. Or, more accurately, whether it is solving the right consumer problem.

From Gatwick’s point of view it may make perfect sense. Cars can be packed closer together because people don’t need to open the doors. You need less circulation space. There may be fewer staff movements. Less risk of somebody clipping a wing mirror or rearranging the side of a Cayenne against a concrete pillar. Potentially you get substantially more parking capacity out of an extremely valuable piece of land. Those benefits are undeniable.

But you’ll note they are largely benefits to the airport and parking operator. The customer has a rather different problem.

They want to arrive, find where they need to go without circling three times, get kids and bags out, leave the car somewhere they trust is secure, and ultimately reach departures with the minimum possible faff.

Preferably, too, without standing in a bus shelter in horizontal sleet debating whether the matrix display’s ‘6 mins’ has in fact changed at all in ten minutes.

Seen that way, the robot is doing something very impressive several stages after the customer has stopped caring. Once I’ve walked away from the car, I don’t really mind how it gets parked. A robot can carry it above its head while bleeping like a jolly droid. My attention has moved on to the next thing: where is the bus, how long will it take, will there be space for the bags, and how long do I need to stand next to the pseudo-Love Island contestant in coordinated loungewear before I’m actually inside the terminal?

Which brings me back to Heathrow’s pods. The engineering proposition is, or at least was, immediately seductive. Small autonomous vehicles, ostensibly on demand, with a dedicated congestion-free route to the terminal. The PowerPoint similarly likely wrote itself. Judged narrowly as a transit system, it’s evidently clever.

But the judgement should be from the passenger’s experience. Here the journey begins not when the pod moves but when you stop your car: park. Extract luggage. Work out the nearest station. Walk in the rain. Wait. Board. Travel. Sometimes stop — “We will resume your journey shortly”. Get out. Walk again with luggage. Find the terminal entrance.

That is the system and, when closely observed, some fairly boring alternatives instead appear surprisingly competitive.

Put more bus stops alongside parking rows. Increase their visibility and directional signage. Cover the walking routes (maybe even with solar panels). Tell people exactly when the next bus will arrive. Run enough buses that nobody really needs to think about the timetable at all.

And make the bus itself good. Warm in February, properly air-conditioned in August. Comfortable seats. Proper luggage racks designed around what people actually take to airports rather than a grudging shelf above the wheel arch. A driver who says hello, helps someone with a heavy case and knows where they’re going. Give the thing a bit of design attention.

None of that is technologically remarkable, but I suspect the combined effect on the journey could be disproportionately positive.

You’re unlikely to find an architectural visualisation of a man standing happily beneath a bus shelter on the homepage of Dezeen. Or a breathless article about wayfinding signage in Monocle.

But it may produce a better experience.

Perhaps, too, there is another behavioural wrinkle. Five minutes of waiting for something you cannot quite predict can feel substantially worse than eight minutes of movement towards your destination. Walking, as many have observed, gives you a sense of progress and control.

Although luggage complicates the calculation.

A 400-metre walk without luggage can feel like useful progress. The same 400 metres dragging two cases, a ski bag and a slightly recalcitrant child across coarse tarmac is not quite the same behavioural proposition. At some point movement ceases to feel like autonomy and simply becomes work.

Which is why shaving two minutes from the vehicle journey may be almost worthless if the passenger has had to drag their luggage an extra 400 metres to reach it. A beautifully optimised autonomous transit system can quite easily lose to a diesel bus simply because the diesel bus stops adjacent to your car.

So often, sophisticated experience design goes slightly wrong along such lines. Organisations naturally optimise the things they can see, measure and control. In this case: vehicles per hectare, average transfer time, labour requirement, throughput, number of drivers, perhaps even CO₂. All sensible metrics.

People, rather inconveniently, experience the gaps between them. They experience the anxiety of where to go. The extra walk nobody included in the journey-time calculation. The toddler who needs a wee. The suitcase with a wobbly wheel. The bus that pulls away just as you approach the stop. Such things are difficult to measure, don’t align neatly to one system or department and so disappear from optimisation models altogether.

So when we end up with technically excellent things that somehow feel worse, I wonder if there is also an element of theatre at play.

Airports have always been preternaturally good environments for conspicuous modernity. The driverless pods, biometric gates, robots and baggage systems, vast digital screens. They are signals, often at a national identity level, of investment, progress and future-facing willy-waving.

A covered walkway, even with solar panels, is not that. Neither is a bus stop being moved 80 metres. Yet either could improve more journeys, more often, for less money.

None of which is to denigrate the robots too much. They’re far from pointless and if Gatwick can materially increase parking capacity without tearing up more green fields, robotic parking may prove to be quite the investment. Judge it on density, operating cost, reliability and land use and the argument may be very strong. But then call it what it is: clever parking infrastructure.

The more useful question is simply whose problem we’re actually solving. Sometimes installing a fleet of robots that lets you cram more cars onto the same patch of land genuinely does improve the customer experience. Sometimes the customer would get rather more from a bus stop 80 metres nearer their car, an accurate countdown and a warm bus with somewhere sensible to put the cases. The difficult part of experience strategy is having the confidence to work out which before someone signs off on the robots.

AI: I used ChatGPT to tidy up some grammar and that, dear reader, is all.

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This was UX, part I.

An infinity loop showing the customer journey of someone buying a cinema ticket and watching a film.

Cinema Experience Loop.

This is the first of an occasional series of explorations into my previous work. I’ll stay light on the reasons only to say that I’ve been clearing out some paperwork and rather than hang on to old documents I thought I’d scan them, creating a digital record (portfolio?) and have the opportunity to explore them in public.

First up is this hand-illustrated experience loop that looks at the ways in which we come to think about buying a cinema ticket and watching a film. Full disclosure this is a commissioned illustration based on my original sketches. I’d love to be that neat but, for a pitch, it needed a draughtsman’s hand.

So, we start on the left side with a motivation trigger. What makes a prospective cinema-goer interested? We imply that a decision to watch something has already been made and this circle investigates the processes being made to identify why the customer chooses this particular cinema (brand). The early phase of influence is all about holding on to a customer that could easily flip to a different venue or decide not to go at all if there is friction in the process of determining a match between film, scheduling and the booking experience. This period, from a creative perspective, opened up lots of discussion around what the on-site and off-site experiences are and how they increase motivation or add friction. How does, for example, the role of review sites like Rotten Tomatoes or, frankly, Google, impact on the linear nature of this flow. How might the (ahem) cadence of this part of the process change depending on whether you’re looking for the next few hours or in the next week?

We looked at the impact of losing a prospect at this point. How might we encourage them back into the decision and consideration phase? We might think about creative ways to re-target and the requirement to have a technical solution in place that identifies those people that are dropping out of the process.

By contrast, the process of attending the cinema is explored on the right-hand side. This is where we looked to add a little friction, slow it down and engage the customer to embed a brand experience that is memorable. Creatively we wanted to introduce ideas around the venue arrival, recognition of the customer at point-of-sale and the personalisation of the foyer experience. How might we influence that crucial ‘take your seats’ phase, where your sense of anticipation is at its peak and where you’re most receptive to the little moments of delight that make the brand stand out?

The film itself is the green section, not much we can do here. This was largely out of our brand’s control. They could deliver exceptional sound and visuals – technology and seating design that was a cut above, but this was out of the purview of our pitch. At the end of the film, the opportunity to embed a great memory is significant. Kahneman talks of the effect of a crashing cymbal at the end of an orchestral score and this is the analogous moment, in more candid terms: don’t fuck it up. To this end we had the opportunity to discuss the rating or review of the experience on exit and the supporting of advocacy, finding creative ways to build on that classic behaviour of walking out of the cinema excitedly chattering about what you’ve just seen – how could this, for example, be broadcast more immediately so that it might influence people in the decision phase?

Finally, there’s a period of reflection. A little later than that foyer exit, perhaps in the day or so after the event where the brand has an opportunity to deepen the memory and connection of the experience with reward, follow-up and loyalty options that potentially build on the momentum and retain the cinema goer within the brand’s orbit such that any future decision to view is even more likely to result in a return to our client’s site and location.

As an exercise, this was a classic customer journey analysis and was the result of deep, intensive thinking and research during a pitch. It’s the tip of a strategic iceberg and was visually the framework which we used to introduce and anchor the creative ideas we presented. It was a demonstration to our client that we thought about the role of loyalty, of the critical touchpoints and potential leaks. We could highlight the interventions we had designed: exceptionally easy booking and film discovery, a personalised welcome and pre-booked refreshments, an effortless review-and-share interaction.

I’m sure it can be critiqued and holes identified. It’s pitch material and therefore hardly the most intensively researched and finessed work – not like you might do with a multi-year client, but I’m proud of what it allowed us to present and the manner in which it demonstrates that UX can borrow from service design principles to add essential context to the flows, screens and interactions we design and present.

Get in the comments on the blog/LinkedIn and let me know what you think. More of this sort of thing soon come.

 

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