Xueer Zhangis a digital/tangible
UX Designer,
who thinks big picture and cares about minutiae.
She diverges and converges, and is not afraid of detours.
Beijing University of Posts and Telecommunications
理学士 BSc / 伦敦大学玛丽女王学院 &
工学士 BEng / 北京邮电大学
BSc & BEng Telecommunications Engineering with Management
电信工程及管理
London, UK & Beijing, China伦敦 & 北京
EXPERIENCE跨领域工作经验
独立体验设计师
Freelance Experience Designer
🍷
https://mulledwine.design
New York & Remote纽约 & 远程
• handcrafted reader‑friendly online interactions, hammered out the minutiae in the wording, layout and hierarchy, and experimented with the capacity of CSS and Javascript
• consulted for clients from food, fashion and architecture industries on user‑centered design and creative technology solutions
• facilitated the founder in setting up the factory, obtaining licenses, and establishing regulations, as well as managing contracts, orders and relations
• took charge of communication and negotiation with buyers, suppliers, procurement managers, engineers, product managers, investors, government officials, lawyers, bankers and board members throughout the tendering, sales, manufacture, transport and delivery processes of industrial products
• translated project document for foreign market, organized product training, and integrated promotion materials
• facilitated setting up the factory, obtaining licenses and establishing regulations, and managed contracts, orders and relations
• took charge of communication and negotiation with buyers, suppliers, engineers, investors, lawyers and government officials throughout the tendering, sales, training, manufacture, transport and delivery processes of industrial products
• took charge of communication and negotiation with buyers, suppliers, engineers, investors, lawyers and government officials throughout the industrial product lifecycle, including factory setup, tendering, sales, contracting, manufacture, transport and delivery
—a regional branch of a software corporation⸺传统软件企业的区域分部
Hainan, China海南海口、博鳌、儋州、东方
• participated in business development, product demo, requirements management, project coordination, tender submission, system testing and deployment of toB and toG services across cities
• shadowed different roles including consultants, sales, project managers, and software engineers in interacting with leads, clients, stakeholders, and end users, gaining holistic perceptions of healthcare, education and IT application innovation industries
• participated in business development, product demo, requirements management, project coordination, tender submission, system testing and deployment of toB and toG services
• shadowed consultants, sales, project managers, and software engineers in interacting with leads, clients, stakeholders, and end users in healthcare, education and IT application innovation industries
• participated in business development, product demo, requirements management, system testing and deployment of toB and toG services in healthcare, education and IT application innovation industries, with consultants, sales, project managers and engineers
—the world’s first bricks‑and‑mortar food museum dedicated to creating interactive and edible exhibits⸺致力于创造世界第一座专注可食用展览的大型博物馆
Brooklyn, New York纽约
• redesigned and launched an informative website, designed nine museum panels, a brochure and a menu, renovated installations and conducted culinary research for four exhibitions/projects and ten events, reaching tens of thousands of visitors
• collaborated with curators, chefs, product managers, developers, photographers, operations managers and volunteers, and enhanced MOFAD’s brand and value
—a start‑up design studio specialized in 3D experiences⸺来自布鲁克林的创新设计工作室
Brooklyn, New York纽约
• converted a prospect to a client, and represented the studio in the full product design cycle—from concept, to research and design, to iterations and testing, and through to product launch—of a project crafting web and mobile interactions
• assisted group user testing sessions, documented user feedback, and provided constructive critique for teammates, clients and stakeholders
• facilitated object‑oriented programming in building Unity visual shaders for a VR paintbrush game
Information Architecture信息架构,
Wireframing线框图,
User Personas/Scenarios/Stories用户画像/场景/故事,
Journey Mapping体验旅程图,
and Paper, Low/High-Fi, Interactive Prototyping纸质、低/高保真、交互式等不同程度的产品原⁠型
Drones have been controversial. The Predator first gave the public a negative impression of warfare brutality. This perception started to shift as commercial drones emerged since . All of a sudden, venture capitalists were interested, the media was talking about it, and at least 3 drones in the following year crashed around the White House, attracting extensive public attention. Amazon was approved by the Federal Aviation Administration to test drone flights outdoors for package delivery. The leader of the industry, Da Jiang Innovations, was on its way to iterate its most celebrated aerial cinematography product, Phantom 2 Vision+, to the next version. The market was already estimated to ramp up quickly and even double over the next decade. Consumer drones were becoming the new popular toy for the tech‑savvy generations.
Good Drones LLC is a human‑centered drone innovation and design lab founded by Mehdi Salehi and Kristen Kersh in New York City. Their mission is to solve human problems with drones, focusing on emotional connections between the human and the drone. During this collaboration, they became our advisors, bringing rich experiences from the field, providing us with feedback on identifying human‑centered problems and designing drones to solve the problems. We sat down regularly for design workshops, drone flying, presentations and critique.
Feeling the Smog
It was the spring of 2015. It had been three consecutive winters that hundreds of millions of people in northern China suffered from the alarmingly poisonous smog. Not only big factories contribute greatly to the air pollution, restaurants, gas stations and cars release waste gas without filtration. The documentary Under the Dome had just gone viral online, spurring wide discussions on what the culprits of the air pollution were and how individuals could start to take responsibility.
My teammate Haotian and I have both lived in Beijing for more than 3 years. We feel the murky air there, and have certainly witnessed the sales surge of face masks as the air quality deteriorated. We asked ourselves:
how can technology help with this smog ?
While the most effective measures would be policies and regulations imposed by the authorities, each citizen can become mindful of culpable behaviors and help report violations. Therefore, we established our target end users to be urban dwellers who were concerned about air quality and suspicious about particular pollution emitters.
Starting from the History
At the time we saw a commercial drone, we knew the mobility of drones can be of great use on supervising urban air quality issues. Seizing this opportunity of innovating a good drone, and proposing an actionable solution to help reduce the smog, we directed our research at:
what are the aspects about drones that can be improved to help reduce the smog ?
One of my habits when I get to know a thing, is that I always look into the first of its kind to start my research. The first drone was inspired by the Austrians’ attempt to use unmanned balloons filled with bombs to attack Venice in the mid‑19th century. It came into being in the early 20th century for military training. Thereafter, development of drones has been carried out by several companies during WWI and WWII. Until 2015, there has been more than 50 countries using drones.
The history of drones started with war, but people have discovered many other uses in civil industries, such as transportation and entertainment. Social and legislative issues emerge as more and more people interact with consumer drones in public places. To better deal with the relationships among the user, the controller, the drone as well as other people, is integral to the future of drone industry.
Flying and Observing
From my primary research impressions and our mentors’ industry input, it came to our attention that some people are afraid of drones. To investigate this assumption, we needed to obtain deeper insights into the relationships of the aforementioned parties.
We took small drones to the street of New York City with our friend Charles, who turned out to be a better pilot. One of us flew the drone, one recorded short videos on people’s reactions, and one took notes of the things uncaptured. We deliberately took the camera module off our drone to avoid any privacy intrusions. We compared large indoor space and different outdoor environments, and noticed different emotions from people’s interactions with us and with the drone.
We came back, reviewed our notes and video recordings, and analyzed our observations. It appeared 5 out of 9 instances of interactions appeared to be positive⁠—interested, curious and amused. There were 2 neutral reactions and 2 somewhat negative ones. There was qualitative speculation to be drawn here, but we thought these non‑positive emotions could be our starting point to a valuable improvement.
We disected these findings as a team by exemplifying what types of people, where does the fear come from, and of what kinds of drones respectively, and generated five HMW questions based on the discussion.
We came to realize there were two directions we could carry this project⁠—functionality versus appearance. For a toy drone, its appearance might be prioritized over its functionality. But for the problems we were trying to solve, the essential functional integration to help reduce the smog should be balanced equally with, if not more important than the appearance.
Contextualizing Interviews
After previous observations, analysis and discussions, we refined our HMW question to:
how might we design a drone to reduce people’s fear and make them be willing to use drones in their daily lives ?
We wanted to answer it through contextual interviews. There were 4 interviewees we found who came from different backgrounds. For each session, we did a brief drone flying demonstration to give the interviewee some context, and then asked him/her questions based on what was seen, heard, felt and thought.
From these participants who had general knowledge of drones from the media, we saw relatively positive interest and acceptance level to current drawbacks and potential improvements of commercial drones. It was common to expect additional modules, such as camera, to enhance drones’ functionality, as well as more work on improving drones’ appearance. Probable reasons for being afraid of drones were high‑pitched noise and close distance.
Refining the Question
We workshopped our new findings together by listing problems and needs discovered throughout the inspiration phase, and decided to focus on two of the more viable solutions among all propositions⁠—to improve drone’s appearance and to add modules other than camera.
The final HMW question we arrived at was:
how might we design an aesthetic drone to help people get the air quality of their surrounding environment ?
Building Personas and Scenarios
With the insights gathered from previous phases in mind, we created three hypothetical users—Chris, Min and Tang—and produced a detailed persona followed by corresponding scenarios for each of them, to better contextualize our idea.
The scenarios depicted above envisioned how enhanced drones could be used in a city to facilitate air quality related activities⁠—we can easily fly a drone to get a reading of the air quality indices, and view the data synthesized on a mobile app. Building these scenarios helped our design solution taking shape.
Forming a Solution
The idea we came up with was to integrate sensors to an existing drone, provided it could hold the aggregate weight of all the electronics, enabling the drone to measure air quality indices. The numbers would then be sent to an app, which would synthesize and present the data to the user.
Accordingly there would be two parts⁠—a drone and an app. This project focused on the former part since our material here was commercial drones. We wanted to focus on exploring physical computing opportunities to reinforce existing drones, rather than spreading out our energies all at once on tackling aeromechanics to engineer the drone machinery, or building a cloud to receive, host and distribute air quality data, or deploying a system to station our devices in the city⁠—these directions would each worth a separate project.
Our long‑term strategy was to make full use of current wheels by collaborating with service providers on the market. For instance, our drones could upload sensor readings to an open‑source database instead of maintaining our own cloud. An air quality and drone management section could be integrated into an app people already have, such as weather forecast, ride sharing, bus/subway time, maps, payment, restaurant booking and other local services, since the scenarios these apps are used in certainly overlap with ours on the street.
In a parallel project, I individually designed an Apple Watch app⁠—before the first Watch launched in April 2015⁠—based on an iOS app called China Air Quality Index, which covered some of the proposals mentioned above.
We would like to give the drone a cloud‑like appearance to keep it public‑friendly, expressing the sincere hope that the blue sky and clear cloud would soon return, therefore decided to name it—Cloudrone.
Choosing a Sensor
Once we had the general solution logic sketched out, we started making. The first part we implemented was attaching a sensor to our drone, and the first problem we faced was that the air quality was actually not bad in NYC. Although there were PM2.5 sensors available, we struggled to get a meaningful reading. We had to dial up the particulate diameter that we measured. I looked up online and Haotian met with an expert, Joseph Saavedra, for advices on choosing an effective sensor for our situation. Their meeting helped us clarify a few things about the electronics.
We assessed our options, bought a tiny carbon monoxide sensor and a compact dust sensor, wired them up and tested the results. It appeared that the dust sensor was our best choice, because it gave perceptible readings and had a more windproof enclosure. Even though the carbon monoxide sensor was much lighter and smaller, it was similarly difficult to detect the density of carbon monoxide and PM2.5 in the environments we were able to create.
As for the wireless connection, we took the expert’s advice to settle on bluetooth over heavier and more costly Wi‑Fi enabled boards or drones. We used an add‑on bluetooth module on a bare‑bones Arduino board, because we preferred separable, distributed structure to ready‑made, integrated component.
Weight Lifting Tests
Once we figured out the essential electronic components, we bound them to our drones to see if they could be lifted. Our smallest toy drone could not lift even one regular‑sized Arduino board. The mid‑sized drone would not fly higher than our knees with the load.
We had to buy a more powerful drone within our budget. The shipping took some time, but it turned out great. The final model was powered by a 7.4V 850mAh rechargeable battery, which allowed 10‑minute continuous flying. Including a 9V battery that powered the boards and the sensor, the model perfectly handled the combined weight, saving us time to potentially reframe the circuitry with smaller components.
Making a Cloud
We wanted the Cloudrone to resemble a cloud displaying the shared hope. Soft materials, such as polyester fiber, instantly came to us as a way to make a quick prototype. However, the rotary motion of drone propellers made them prone to tangle with loose fiber. We tried to turn to harder materials, considering paper sculpture, papier mâché, 3D printing with plastic filaments and plastic molding. But for one thing, it would be more time‑consuming to make. For another, it would require extra support to stabilize the electronics at the center of a hollow cloud, which would add more weight.
We focused on building a minimum viable prototype to demonstrate our concept, leaving possible concerns like heat dissipation and discoloration to a future iteration. Therefore what we needed was a lightweight shell to secure the soft materials appropriately. Felt perfectly did the trick. We cut it to shape and sewn the edges together, enveloping all the components inside with a velcroed opening reserved for recharging batteries.
The dust sensor needed to be placed away from drone propellers. We drew inspiration from a precedent project and found it easier to hang the sensor below the drone. The wires between the board and the sensor were lengthened, twisted together and protected with insulating tape. We spray‑painted the body of Cloudrone to be bright blue and white⁠—the colors that were easily recognizable in a smoggy background. To keep the shapes in line with the colors, we used light blue felt to form a droplet silhouette as the enclosure of the dust sensor, with a length of transparent plastic straw clearing the detection hole.
Proof of Concept
Cloudrone is an accessible, drone‑powered, semi‑stationary air quality monitor.
We believe in the value of deploying Cloudrones to make a social and environmental change. On city streets, a Cloudrone would serve as both a static measuring station and a mobile data collector.
Statically, we envisioned to set up Cloudrone stations at existing bus stops, bikeshare stops, subway exits, gas stations, convenient stores, outdoor drinking fountains, news stands, telephone booths or Wi‑Fi stations. These places were economic choices that could provide shelters and supply power for Cloudrone, and had already had their own widespread network in cities.
When people suspect harmful gas release in the city, they can easily control Cloudrone to measure the air quality indices at specific sites, such as a place close to a restaurant’s chimney, near a car’s tailpipe or around a construction site.
This dual‑mode implementation would engage the public with new technology while improving their sense of trust and responsibility on the environmental issues. All the data Cloudrone collects would be open‑source, which could be synchronized to a public database, and reported to monitoring departments.
MOFAD City was a multimedia collaboration between the Museum of Food and Drink, a nonprofit that is creating the world’s first large‐scale museum with edible exhibits, and Eater, an online network of food news and dining guides by Vox Media. The project told the stories of food cultures in 8 US neighborhoods through website, videos and brochures.
With their collaboration came to an end, my client MOFAD needed to transfer the contents from the collaborator's domain, eater.com/a/mofad-city-guides to the museum's own website, city.mofad.org so that viewer traffic would be kept in‐house.
It was also during the extended period of MOFAD's celebrated exhibit, Chow: Making the Chinese American Restaurant. Therefore, the Chinatown section was prioritized as a Minimum Viable Product over the other 7 neighborhoods, aiming at promoting the shared topic and extending audience's journey from the museum space to online communities.
Pushing Forward
As I was taking in the requirements and resources, I pushed for retrieving user data of the old site from the previous collaborator. Unfortunately, we hadn’t gotten any fruitful results. However, I took the opportunity as I frequented the museum as an exhibition docent and culinary design assistant at that time, and initiated a few interviews with visitors and staff, who made a good sample of the target user. My strategy was to engage my interviewees with a task:
could you pick a dish you would like to try in Chinatown, and find out the address where it is served from this site ?
From their reactions, I summarized three pain points of the old site.
Long Bottom Navigation
A banner link at the bottom of a long scroll is a way to prompt the readers with more content to follow, and to keep them stay longer. But 4 links, taking up more than 2.5 folds on a desktop screen, can be difficult to correlate.
Not to mention, each of these links points to another long scroll. The corresponding four pages are organized by content topics⁠—history (Learn), dishes (Eat), places (Visit) and audio clips (Listen). At the end of each topic, the other three links reappear.
The alternative navigation on the page is hidden away, so these banner links essentially serve the purposes of recommendation and navigation. This part caused confusion among my user interviewees. In one case, a user lost interest in the middle of a long scroll, never got to the bottom links, and was stuck on the page with no choice but to return to the homepage.
Missing Content
Sorting out the old site’s contents and mapping them into a table, I discovered 5 situations of content interrelation.
There was only one entry that made a consistent connection among a dish, a place to taste the dish, and an audio clip that told the related story. The other 4 situations posed questions.
Chaotic Linkage
Let's consider the following scenario:
1A user became interested in a tofu dish when browsing the Eat page, and wondered where the place to taste this dish would be.
2A link took our user to the Hop Lee restaurant section of the Visit page.
3However, as the user continued reading about the place, the contents got confusing because there was no mention of tofu in that section, but a prompt to another dish that took our user back to the previous page, but a different section.
4From there, this second dish did not provide a link back to its corresponding restaurant. Instead, it promoted an audio clip that introduced the place.
5The hash‐linked section on the Listen page presented a link back to the restaurant on the Visit page.
In this scenario, jumping around different sections of a page and between different pages produced a recursive and fragmented reading experience.
The place section managed to maintain a complete interrelation with the audio clip section, only through the second dish. Curves 2345 were all one‐way links that provided no indication of the orientation for users.
These prescriptive linkages the old site employed resulted in a linear narrative which our users easily got lost in. A clearer content structure was called for.
Proposing Solutions
To tackle the three pain points mentioned above, and to answer the following question:
how might we redesign mofadcity.org, to clarify the narrative structure of food experiences ?
I proposed these solutions:
Mapping Structures
By detangling the information architecture, I derived a new site map that was concise and straightforward. Then I sketched out initial ideas and played with shapes that resonate with the museum space.
Diverging and Converging
To name one challenge I faced when implementing wireframes, it was the search for cultural symbols that could resonate with the exhibition and also serve as website navigation. Signs, lintels, plaques, lanterns, firecrackers, and Chinese knots ... came to my mind.
It appeared to be a challenge because my client disagreed with all the candidates I explored. They were thought as being too cultural for this one of the 8 neighborhoods and thus lacking generality. This feedback was valuable to me in better understanding my client’s mission, instrument and content.
Accordingly I adjusted my direction, looked beyond Chinatown, and dropped most of the ethnic specifics. But this process of divergent exploration had helped me converge on the generic goal of this website—⁠to inspire diverse audience with different content—therefore, a middle ground was needed.
From the octagonal box of an electric firecracker, I eventually came round to the ubiquitous stop sign. It was created in the States and adopted around the world⁠—it’s common enough to be recognized, and had connotations of intersection, indication and navigation.
Iterating
Similarly, I diverged and converged on many iterations of page layout for mobile and desktop screens. For instance, I tried metaphoric visual element to convey connection, varying sizes to prioritize important item, bare display to list calls to action of equal significance, and reminiscent composition to maintain content continuity.
On a micro level, I tested various designs of modules, components and even map styles generated by JSON files.
Interactive Prototype
The final design was delivered for hand-off using Zeplin with all the parameters and assets in place, and also as an interactive prototype where user flows were intuitively laid out.
Design System
To formulate a design system for this project, I employed most of the preexisting brand guidelines to stay in accord with my client’s other visual establishments.