Content Ducati: an Investigation of the Space of Interface and the Design of User Experience

CONTENT DUCATI: AN INVESTIGATION OF THE SPACE OF INTERFACE AND THE DESIGN OF USER EXPERIENCE.

A thesis submitted to Parsons School of Design, a division of the New School University, New York, in partial fulfillment of the requirements for the degree of Master of Fine Arts in Design and Technology.

Melissa MacQuarrie May 2005

Thesis Faculty: Stephanie Owens, Anezka Sebek Writing Faculty: Barbara Morris

Thesis advisor: Karen Sideman

Additional advisors: Allen Jones, Dave kanter, Dave Carroll, Katie Salen, Colleen Macklin CONTENT DUCATI: AN INVESTIGATION OF THE SPACE OF INTERFACE AND THE DESIGN OF USER EXPERIENCE. ABSTRACT OF CONCEPT Content Ducati is a web project that investigates the space of interface and the design of user experience via careful analysis of target community needs, lifestyles and habits. The intent of the project is an attempt to bring something new to the table in terms of designing access to information on the web. The goal is developing a system that is intuitive and engaging, that responds to the identity of the user and compels the user to explore.

The project uses analysis of Ducati riders as a tool for developing the user experience. It seeks to translate their identity; the affinity for design, their most common attribute.

This system uses the design aesthetic of the Ducati motorcycle as a process for delivery of information, so as to provide users with an experience that is unique and engaging, inspiring and entertaining.

The project is, in itself, an experiment in the design of interface. It looks to the field of experience design as a resource for designing methods for user pathways and immersive environments. The mission of the project is to create the illusion of “traveling thru space” to access content. This is achieved through the use of graphical animation, narrative interaction, transitioning and programming.

Research involves traditional models for web design, current models of web based experience design, investigating the design aesthetic of the motorcycle as well as the lifestyles, habits and characteristics of users in order to define community needs.

The end result is an interactive, cinematic experience of the Ducati design aesthetic, that presents a means of improving internet based user experiences. The project includes site form and functionality, usability testing, and community user feedback to ensure its overall success.

Predicts experiential web design will be a trend of the future. ACKNOWLEDGEMENTS

I would like to express my gratitude to my family, friends and fellow students for their continuous support during the creation of this thesis. Thanks to Rick Ochoa, for his resourceful perspective in the field of information technology and assistance with sound design. I also want to extend my most sincere appreciation to all of my advisors for their advice, inspiration and dedication to helping me find solutions to my design questions. Special thanks to Stephanie Owens, Barbara Morris, Anezka Sebek, Karen Sideman, Allen Jones, Colleen Macklin, Katie Salen, Dave Kanter and Dave Carrol. TABLE OF CONTENTS

PRELIMINARIES Title Abstract Acknowledgements Table of Contents List of Illustrations

CHAPTER 1. INTRODUCTION…8 1.1. Motivations…8 1.2. Overview of this Thesis…12 1.2.1. Target Users And Context…13 1.3. Contributions of this Thesis…14

CHAPTER 2. BACKGROUND/RESEARCH 2.1. Introduction…15 2.2. Traditional Web Models of Information and Interface Design…16 2.2.1 Overview…16 2.2.2. Microsoft Bob…16 2.2.3. Usability, Jakob Nielsen/Donald Norman…17 2.2.4. Interface Culture, Steven Johnson…17 2.2.5 Conclusion…18

2.3. Current Web Models of Experience Design…18 2.3.1 Overview…18 2.3.2. Marcos Novak…18 2.3.2.1. Novak’s Ideologies of Space…22 2.3.2.2. Example: Marcos Novak,Trans architecture 2.3.2.3. Basqiuat: Icons and Culture…25 2.3.3. Nathan Shedroff…25 2.3.4. Mark Stephen Meadows…26 2.3.5. IDEO, Tom Kelly…27 2.3.6. R/GA …28 2.3.7. Conclusion…30

2.4. Design Aesthetic of the Ducati Motorcycle as applied to Experience Design…30 2.4.1. Pierre Terblanche…31 2.4.2. Community and User Research…32 2.4.3. Ducati Rider Community…34 2.4.4. Ducati Racer Community…35 2.4.5 Conclusion…35 2.5 Precedents…35 2.5.1. Nike Design by Nature…36 2.5.2. VWPhaeton…38 2.6 Conclusion…40

CHAPTER 3. METHODOLOGY…41 3.1. Introduction…41 3.2. Foundations for Creating Design Solutions for Experience 3.2.1. Investigating Ducati: Overview…43 3.2.2. Investigating Information Design…43 3.2.2.1 November 2004 Ducati Website 3.2.2.2 Topic Overview and Outline…45 3.2.3. Investigating Ducati Culture and Community…47 3.2.4. Investigating General Usability, Incorporating user Feedback…48 3.3. Methods for Designing the interface of the Ducati Experience…49 3.3.1. Immersive Environment as a Method for Experience Design…49 3.3.2. Design Aesthetic as a Method of Experience Design 3.3.4. Library of Technical Mechanics…P52 3.4. Preliminary Experiments for Design Solutions…P54 3.4.1. Re-structure of Ducati Information Design. 3.4.1.1 Site Map: Versions for Fall 2004…P55 3.4.2. Interface Design, Navigation and the Immersive Environment…P56 3.4.2.1 Versions for Fall 2004…P56 3.4.3. Response to Project Proposal…P57 3.4.5. Actualizing the Experience of Environment…P58 3.5. Prototype Solutions…P60 3.5.1. System Overview…P60 3.5.1.1 User Pathways, User Flow, and Navigation 3.5.1.2 Site Map: Final…P61 3.5.2. Site Form and Function: Pre-Alpha…P63 3.5.3. Pre-Alpha Usability Testing, User Feedback…P63 3.5.4. Site Form and Function: Alpha…P64 3.5.5. Usability Testing, User Feedback…P66 3.5.6. Site Form and Function: Beta…P67

CHAPTER 4. FINDINGS/ EVALUATION (Discussion and Analysis) 4.1. Thesis Review…P68 CHAPTER 5 CONCLUSION … P75 5.1. Conclusion …P75 5.2. Future Directions …P75 CHAPTER 6. Bibliography…P78 6.1. General Research …P77 6.1.2 Books …P78 6.1.3 Journals …P79 6.1.4. Websites …P79

6.2. DUCATI Specific Research …P79 6.2.2 Books… P80 6.2.3 Journals…P80 6.2.4 Websites…P80

APPENDICES APPENDIX A. Works Cited … P81 APPENDIX B. Ducati User Group … P85 APPENDIX C. Ducati Character Document … P86 APPENDIX D. Glossary… P88 APPENDIX E. Wire-frame Document / Page Map… P89 APPENDIX F. Ducati Monster List Review…P116 LIST OF TABLES AND FIGURES

Figure 1a, 1b,1c, and 1d Screen shots of Microsoft Bob. Web resource: http://www.tspa.org/win123-17.html March. 2005…P18

Figure 2 Marcos Novak’s Example of Trans Architecture. http://www.mat.ucsb.edu/~marcos/ Centrifuge_Site/MainFrameSet.html…P24

Figure 3. Davinci’s Last supper ……P24 http://faithinsights.jesusanswers.com/TheLastSupper,(restored)Leonardo%20Da%20Vinci.jpg

Figure 4 “Photo of Pierre Terblanche with the Triple 9”. Cathcart, Alan & Cook, Mark. Ducati 999. P12. David Bull Publishing 2003 …P31

Figure 5 Photo of Dr.Fabio Taglioni http://www.ducati.com/heritage/protagonisti/protagonisti_taglioni.jhtml

Figures 6a-6h Nike.com: Nike Lab, Design by Nature. November, 2004 …P36

Figure 7a-7f www.vwphaeton.com: Volkswagen Phaeton. 2004. Homepage. …P39

Figure 8a-8f Ducati.com November 2004. P40

Figure 9: Melissa Macquarrie. “Information Design Topic Map” P46

Figure 10a &b MacQuarrrie, M. “Main Menu Interface ”. November, 2004…P56

Figure 11 MacQuarrrie, M. “Hierarchy for Mechanics ”. November, 2004…P51

Figure 12 MacQuarrrie, M. “Site Map: Version Fall 2004”. November, 2004…P56

Figure 13a, 13b, 13c, 13d MacQuarrrie, M. Usability Study: Steps 1-4. December, 2004…P57

Figure 14. MacQuarrrie, M. Sitemap: final organization of information…P60

Figure 15a- 15e Macquarrie, M. Screen shots of final interface…P67 CHAPTER 1. INTRODUCTION 1.1 Motivations Most interface design solutions for web-based applications developed today, present content via a traditional use of linear flow. Users access information through series of pre-determined, consecutive and relatively flat pages. The goal of the vast majority of current web design is to provide website visitors or application users with easy access to a host of information that they might find useful. Marketing research has determined that effective websites and applications provide the user with an immediate assurance that their time is not being wasted searching through mountains of information to get what they want. If a user cannot find what they are looking for instantly, chances are that they will leave the site. Web designers work diligently to interpret the needs of users, creating outlines of information via tables of text menus, to insure that the user can access all possible avenues of information, at first glance. The tradition supports the assumption that a web site is essentially a series of pages, to be read as one might read a book or newspaper, reading the stories on the front page, and flipping to the main pages to continue the story and get more information. While the experience of reading a newspaper can vary significantly when you consider it may entail reading the Sunday paper curled up on the sofa with a cup of coffee vs. reading standing-up on a crowded subway; traditional web site design, like newspapers, focus on information gathering and distribution to enhance the users overall experience. By concentrating mainly on information access, traditional web design restricts the potential to offer the user a broad multimedia experience.

With the advancement of multimedia technologies (i.e.: Flash, Photoshop) there is a new trend developing in which designers are searching for ways to present information that is not dependent on the architecture of pages. It could be a design where interaction means more than simply clicking on a link to get more detailed information or using a rollover menu to see various topics available. This trend looks to the advancement of the graphical interface design to provide the user with a more engaging and exciting experience and a more intuitive and responsive interaction. Product marketers often look for creative solutions to provide consumers with a way to experience (e.g. touch, smell, ride) their products, in order to more effectively market (i.e. to create desire for consumers to purchase) those products. Web designers are looking to create user interface design that make websites and applications a place where consumers can gain some of the experience of owning the product, and thereby increase the volume of products or services consumed.

This thesis looks beyond a world of relatively flat, linear pages. Is not the web an interactive environment, shouldn’t the translation of that description be literal? Why do we look at the web as if it were a piece of paper, instead of a digital realm where anything can happen? This project defines a graphical space that users move into and through in the pursuit of information.

With a background as an e-learning designer and developer, I believe that creating interactive environments to host content is a far more viable solution for developing engaging user experiences, than using a design based on a system of pages. I argue that interaction with the Internet should not be assembled as an experience of reading a book or a newspaper, but rather it should be a virtual space that users move within and through to access information.

Current design trends in web design cater to the belief that what the user is saying is, “Just help me find what I want before I get frustrated and leave the site!” The user knows what to expect, and doesn’t want anything else. I believe there presently is a latent need for a more progressive design solution that assumes the general user is familiar with the current trends of accessing on-line information and actually does want something more, though they may not be aware of it. This project caters to the assumption that the general user is familiar with using the internet and wants something new. Perhaps instead the user is saying, “Give me something that makes me want to be there, makes me want to explore, something compelling and entertaining, offering experience of the product in addition to the information I have set out to find.” There are solutions to be found in the creative manipulation of graphical interface and digital motion, which can give depth and dimensionality to the form and function of the web. By exploring the design of interface as an experience, my project aims to provide users with a new and better way to access to information. 1.2. Overview of this Thesis ...By changing space, by leaving the space of one’s usual sensibilities, one enters into communication with a space that is psychically innovating. For we do not change place, we change our nature. Gaston Bachelard, The Poetics of Space, 1964 (1)

Content Ducati is a web project that investigates the space of interface and the design of user experience via careful analysis of target community needs, lifestyles and habits.

The intent of the project is an attempt to bring something new to the table in terms of designing accesses to information on the web. The goal is developing a system that is intuitive and engaging, that responds to the identity of the user and compels the user to explore. The project explores and demonstrates how the use of graphic metaphors for immersive environments can be a means of improving internet based user experiences.

The project looks systematically to the analysis of Ducati riders as a tool for developing the user experience. It seeks to translate their identity; the affinity for design, their most common attribute.

In traditional web architecture, users access content through a series of pathways mapped to the home page and navigation. In experience design, users access content via a cinematic, interactive environment. This system uses the design aesthetic of the Ducati motorcycle as a process for delivery of information, so as to provide users with an experience that is unique, inspiring and entertaining.

The engine looks to the information hierarchy of the Ducati website version November 2004, as a base for compression of content. The material is compressed via analysis of target user needs, then repurposed. Current methods for designing experiences demand perimeters on text. Major components of my research are identifying traditional models for web design, identifying current models of web based experience design, investigating the design aesthetic of the motorcycle as well as the lifestyles, habits and characteristics of the user in order to define this community’s needs.

It is my belief that experiential web design, using metaphors of immersive environment and narrative interactivity will be a trend of the future. 1.2.1. Context/Target Users The main context for this project is the use of these design solutions NORTH AMERICAN target audience.It could be featured as an experiential site, promoting hot topics. It could also be used with a Kiosk in dealer stores, or could even be used in combination with a CD-ROM based catalogue to accompany their print materials; or within Kiosks (interactive web-based applications) placed in Authorized Dealer Stores.

Target Audience: male and female Ducati Enthusiasts, Riders and Racers; Ducati communities: UsDesmo; a Ducati Desmo owner’s club for the United States, DucatiCorse, the public image of Ducati’s racing subsidiary. Authorized Dealers, Ducati Director of Design, Pierre Terblanche. 1.3. Contributions of this Thesis This thesis challenges the trends of current, proven web design techniques, without disregard for the many viable reasons for their establishment. The goal is an attempt to invent new techniques and strategies for web design via the analysis, interpretation and organization of experience, information, interface and aesthetic.

This thesis evaluates the phenomenon of Ducati in terms of culture, tradition, design, sound, marketing (both web and print) and the identities of Ducati communities of riders, racers and enthusiasts. It strives to create a more effective and engaging virtual forum for the presentation of image, identity and interactive experience. The contribution to the human condition lies in giving this specific community a product that excites, engages and identifies with them on a deep, emotional level. This thesis contributes to the field of design by the translation of the magical, physical aesthetic of the Ducati Motorcycle into a virtual environment, and by using that aesthetic to evoke an identifying passion in the target user.

The project strives to be an interactive, cinematic experience of the Ducati design aesthetic and industrial engineering. It offers the suggestion of a new way in which we can view and interact with internet based content and thus changes the way we perceive designing for the web. In terms of technology, this thesis contributes to the field of information design by presenting a unique navigational structure for the presentation of experiential based content. This structure takes the traditional concepts of “home page or main menu” and “navigational panel” and merges them into one. In this thesis, the navigational system is built directly into the graphical metaphor of environment on the homepage.

The information from the original November 2004 Ducati site, has been thoroughly examined and evaluated to determine a hierarchy of importance and relevance based on the target community needs. The information design this prototype, gives us example as to how information design can be evaluated, isolated and reduced, making it applicable to designing interactive experiences. CHAPTER 2. BACKGROUND/RESEARCH 2.1. Introduction The design of a web-based application is formed by the combination of the design of information, the design of the graphical user interface, the design of programming and the analysis of usability.

This chapter outlines the background research of traditional web models of information design and interface navigation in order to demonstrate current trends and the reasons behind what these methods are and why they are supported in the industry.

This research is important to my inquiry because it serves as a foundation for understanding what pathways the industry has taken and why these pathways were successful or not.

By examining the beliefs and research of industry leaders, I define the current state of design assumptions and techniques for the medium my work attempts to address, enhance and improve, in order to provide users with transcendence beyond traditional techniques of access to information.

The research outlines the process of Traditional Web Models of Information and Design, Current Web Models of Experience Design Design Aesthetic of the Ducati Motorcycle as applied to Experience Design, Community and User Research and Precedents 2.2. Traditional Web Models of Information and Interface Design 2.2.1 Overview This section discusses traditional models of Web design. It examines the interface used in the devlopment of Microsoft Bob, and outlines the Ideologies and examples of industry leaders in usability, interface and information design; Jakob Nielsen, Donald Norman, Robert Jacobson and Steven Johnson.

The investigation examines how traditional industry standards are being implemented based on the findings of key researchers and writers. 2.2.2. Microsoft Bob In early 1995 Microsoft released a software program called “Bob” designed to replace the desktop of Windows 3.1 and 95 with an interface designed mainly for novice users. Microsoft Bob was an alternative graphical “shell” for Windows.

Intended for home computer use, Microsoft Bob was a “social Figure 1a: Microsoft Bob Splash Screen interface” that used sound effects and pictures used “rooms of a home”. * (2) The software opened with a Splash Screen [Fig. 1a] that used cartoon-like, bulleted list of balloons to choose options from instead of pull-down menus and dialog boxes and used a metaphor of a “Front Door” [Fig. 1b], for the log- in screen. The default interface follows using the graphical metaphor of being in a “Public Family Room” [Fig. 1c & 1d]. Double-clicking certain items in the room run Bob’s programs.

Figure 1b: Microsoft Bob Log-in This software, though supported by a massive add campaign, was not successful due to a number of reasons. Most computers at the time did not meet Bob’s minimum hardware requirements. * (2) The graphical interface did not appeal to the target masses, the overall criticism being the system was “too cute, and “had annoying character user guide.” It was felt that Bob was not useful enough to justify its initial sale price of almost $100. * (3)

Figure 1c: Microsoft Bob Public Family Room Microsoft Bob demonstrated a great advancement in programming technology in 1995. The “home” atmosphere and “personal guides” were the first attempt to “humanize” the computer experience outside the realm of children’s educational software.

In my project, the system uses animation of light and form moving across the screen in response to lack of interaction of the mouse with screen. When user interaction is idol the system prompts the animating light. This use of animation in itself is a prompt to the user to engage. The rollover states, giving users access to other sections of the site are designed to be much larger than the actual icons used on the screen, thus wherever the user moves the mouse, a graphical rollover will appear. An assumption is made here that the average user in 2004 is inherently more web savvy than the average user in 1995 and that the user will realize by design that these are the avenues to explore throughout the screen. The access points provided are simple and minimal so as to not overwhelm the user and provide instant understanding as to the number of access option. The use of light presents a more subtle and fundamentally less annoying technique than an elaborate metaphor of the character guide.

A contemporary interface, supported by current technology should be intuitive enough to notice if a user is not engaged with the mouse and the screen, particularly when used with an interface where information being accessed is limited by the use of the graphical metaphor, so as to not loose the user who may not be sure as to how to engage.

At the inception of Microsoft Bob in 1995, the internet was just becoming mainstream, people were in the process of developing a general familiarity with using the internet. In 2005, the general average user knowledge has advanced far beyond what it was then.

The technology that exists today, supported by upgrades in Flash, DreamWeaver, Photoshop can serve in place of the customized engines that were hand built to carry interfaces like BOB. Ducati Enthusiasts are people known for their openness to experiences that are less ubiquitous, more challenging and original. Perhaps the time is now. 2.2.3. Usability, Jakob Nielsen/Donald Norman Jakob Nielsen, Ph.D. and Donald Norman, Ph.D. are members of Nielsen Norman Group are user experience pioneers, advocating user-centered design and usability before it became popular to do so. Nielsen was named the “The Guru of Web Page Usability” by the New York Times; Norman was named “The Guru of Workable Technology” by Newsweek Magazine. * (4)

Nielsen believes that the highest priority in designing for the web is the download time. In Jakob Nielsen’s web article Alertbox for March 1, 1997, he states: “Every Web usability study I have conducted since 1994 has shown the same thing: users beg us to speed up page downloads. In the beginning, my reaction was along the lines of “let’s just give them better design and they will be happy to wait for it”. I have since become a reformed sinner since even my skull is not thick enough to withstand consistent user pleas year after year. Traditional human factors research into response times show the need for response times faster than a second.”

In an interview conducted by www.webreference.com regarding his book Designing Web Usability, Nielsen offers insight into the theories of his research. He created the book to present a unified argument for his principle of simplified Web design that focuses on serving the user. He states “the old medium of the book is still the best approach to telling a long story and proceeding linearly through an argument to build up to a conclusion.” Neilson advises web designers to “discover the three main reasons users come to your site and make these things extremely fast and obvious to do.” He stresses the use of a minimalistic navigation system as a valuable design technique. He feels that good-looking visuals are important in establishing credibility, but designers should avoid graphically rich designs, because of their effect on response times. * (5) In his book, Homepage Usability: 50 Websites Deconstructed * (6) Nielsen outlines his principal guidelines for homepage design and his research on homepage statistics. He outlines common metaphors used in Homepage design, such as the magazine, artwork, building lobby, newspaper, brochure and notes a metaphor can be misleading if it dominates a users thinking. Goals of homepage design stress “communicating the site’s purpose: it must communicate in one short glance, where users are, what the company does and what users can do in the site” as well as “provide a clear way to find information about the company.” Web Users generally scan written content, so it should be condensed and easy to gloss over quickly. The navigation should reveal the most important content of the site, so that users have a good sense of what there by looking at the top-level categories. “Users should not have to click on things just to find out where they are.” * (5) Graphics and animation should be used to show real content, not just to decorate. Graphic design most often hurts usability when it’s used as a starting point for home page design. Graphic design should help lend a sense of priority to the interaction by drawing the users attention to the most important elements on the page. * (6)

Nieslen’s research is critical to successful web design; all of his work points towards truly resolving the technical effects of usability needs. His work done in developing design guidelines for the web is fundamental in creating effective web design. There are no graphics on Nielsen site: http://www.useit.com, based on the fact that graphics tax usability, an effective technique to support his methodology. The site, however, sacrifices its design appeal in its aims to support this ideal. The result in this case is that itlacks finesse; his choice of font and font size could be adjusted to increase the appeal of the site to the user. Though Nieslen’s work is brilliant in its understanding what the user audience wants and needs, it also sacrifices the role of the design of experience. Donald Norman’s expertise is in understanding the relationship between people and technology defines the social and human components of design, experience, and everyday life. Norman claims that logical analysis is not a good way to predict people’s behavior (nor are focus groups or surveys): observation is the key. * (7)

In his book “The Design of Everyday Things” he states the fundamental principles for designing for people are (1) providing a good conceptual model that allows people to predict the effects of there actions and (2) making things visible; the relationship between the users intentions, the required actions and the results sensible, non arbitrary and meaningful.

The principal of mapping is used in determining relationships between two things, between controls and movements and results that concur. A device is easy to use when there is visibility to the set of possible actions. Good design takes care, planning thought. It takes conscious attention to the needs of the user. There must be a close and natural relationship between the control and it function. * (8) These principles apply to designing user interfaces, as users need to know what they are doing and where they are within a site in order to feel comfortable. Norman believes that design needs to balance aesthetics, usability, ease of manufacture. Trouble occurs when one dominates all of the others. (9)

In the case of the current Ducati site, the focus on designing access to an abundance of information dominates the access to emotionally provocative design, so inherent in its product. Through an overall reconsideration of the current Ducati Web site, my project offers solution that provides a better balance of user access to aesthetic, information and experience. 2.2.4. Interface Culture, Steven Johnson

According to Steven Johnson interface serves as a mediator between the computer and the user. As culture adopt interface technology, new visual languages grow. “ As the infosphere continues its exponential growth, the metaphors used to describe it will also grow in both scale and complexity. If interface medium is indeed headed toward the breadth and complexity of genuine art, it will borrow extensively from pre-existing traditions: art and architecture, the cinema and the novel.” * (10)

This project attempts grow the concept of visual metaphor, using elements of narrative in creating transitions that respond to the user interaction. Metaphors and transitions are created based on the design aesthetic of the content and analysis of user needs.

2.2.6 Conclusion In conclusion, traditional interface design requires that the needs of the user audience are met instantly. Defining a metaphor for a target user that is too broad, will often lead to unsatisfactory results. Interface design is compromised by user demand for instant access. The general consensus is less is more, speed is better than beauty, and making the user wait is poor design. Mapping the relationships within a site, making those connections clear and easy to understand is an important practice. All the while knowing, that interface culture is a living organism in itself, always changing, requiring new solutions in information design.

The Information Design in my project evaluates the November 2004 Ducati web site and current marketing materials and determines the best ways to condensed and re-distributed content in order to provide users with better access to information. The condensing or crunching of information is important in this project because designing experience in a web based environment requires that content be reduced to it’s absolute essentials. It’s not about giving the user access to everything, but rather knowing the target user so well, that they find the exploration gives them information that they want. 2.3. Current Web Models of Experience Design 2.3.1 Overview Experience design has only recently been defined as a discipline and is actually the combination of many different disciplines, including digital media, graphic design, narrative story telling and interaction design. It is referred to as “experience” design, because this type of design seeks to offer the user a compelling experience in addition to the pursuit of learning about a product. The success of the design experience is dependent on accurately judging the needs of the community; what they like, who they are, as well as feedback from direct user interaction with the project. Experience design is an immergent discipline that defines the parameters of developing interface by the habits and lifestyles of its users. The design itself is created specifically for the needs of community. In this project the experience design uses a metaphor of an environment as a system for content presentation, navigation and interaction. The metaphor of graphical environment will be used as a tool for creating dynamic show places that support a quality interactive user experience.

2.3.2. Marcos Novak 2.3.2.1. Novak’s Ideologies of Space

The first thing we learn from Marcos Novak is about depth of virtual space. The metaphor of being submerged in a digitally created environment is visually bold and engaging. He creates an interference of a 3D world within in the 2D space of a monitor screen.

In order for Experience Design to be successful the above conditions must be met programmatically. The translation of depth and light must fill up the whole screen, immediately, upon launch of the url. See Fig. 2, Marcos Novak’s Example of Trans Architecture. 2.3.2.2. Figure 2. Marcos Novak’s Example of Trans Architecture

Through Novak’s sensibility, we establish a freedom in space, the user knows they have entered a virtual “world”.

Perspective is a knife.

What Da Vinci proved in the “Last Supper” Fig. 3, Novak proves in this body of work: “Trans architecture”. In demonstrating that now designers use a digital transfusion of light to define the 3d space as well as the 2d space that Leonardo defines. Here we define a new Figure 3. Davinci’s Last supper world where art, defined as a perception of dimension of a historical culture, breaks its mold, dawns a new era. How long did it take for Da Vinci’s masterpiece to be understood by a 15th century audience, a lifetime? As Da Vinci has in worked out for us in terms of line, Novak has it worked out for us in terms of light. Novak offers us solutions for light, shape, perspective and shape, but what about the icon? The logo? Text can tend to break up the metaphor of environment, so designers need to use text precisely and moderately, icons need to be used to represent sections. How can we understand the methodology behind creating the icons, who is the Guru of icon methodology? One key player that comes to mind is Jean-Michel Basquiat.

2.3.2.3. Basqiuat: Icons and Culture.

How does one “transcend”, represent to audience, the icons of a culture? Jean-Michel Basquiat demonstrates a solution that can be derived from his body of work: folklore, HBO, Mayan Hieroglyphs, Caves of Lascaux. Icons of a culture represent family history, folklore and hieroglyphs.

“Crowns, Halos, and Heroes The crown was Basquiat’s signature motif. In some paintings, the crowns top nameless, generic figures. But more often, Basquiat crowned his heroes. These included renowned jazz musicians, such as Charlie Parker and Dizzy Gillespie, and celebrated athletes, among them Joe Louis, Sugar Ray Robinson, Cassius Clay (Muhammad Ali), and Hank Aaron. Like the royal titles that famous African American musicians have sometimes adopted as nicknames—such as Duke Ellington or Count Basie—Basquiat used crowns, as well as halos, to ennoble his icons.” (11)

Basquiat’s methodology for creating icons can be used to define icons for the Ducati culture, the less ubiquitous, glimpse of something unique and catching to the eye. Icons are important to experience design because they can be used as a tool for condensing information. 2.3.3. Nathan Shedroff As discussed by Nathan Shedroff, in Experience Design 1, “Experiences are the foundation for all life events and form the core of what interactive media has to offer. An experience requires an attraction, an engagement and a conclusion.” (12) The concept of attraction in this project will be the dynamic of the 3-dimensional environment, the user will engage with the product itself in order to obtain information about its components. The concept of engagement will use the aesthetic of design to compliment the access of information. The conclusion will be offering the users a unique information design where they walk away from the experience with additional, exciting information that they may not have anticipated. Shedroff also explores how the concept of a “takeaway” is important to the design of experience. Author Douglas Coupland describes a “takeaway” as “that one memory of earth that you’ll take away with you when you die that proves you were alive.” Takeaways are an exercise that help use derive meaning from the things we experience. (13) By discovering, exploring and deconstructing the essential attributes of the Ducati community, each environment will examine what the use will take away with them, via the experience of the site. The success of the experience design lies in the interactive gifts the provided by the design of interface, developed in context to the user. The experience design of this project is dependent on the design aesthetic of the Ducati Motorcycle in order to engage and attract users, to leave a lasting impression and to leave them wanting more.

2.3.4. Mark Stephen Meadows Mark Stephen Meadows believes that narrative exists to convey perspective. He states: “Interactive narrative is the most ambitious art form existing today because it combines traditional narrative with visual art and interactivity. Strangely enough these three art forms share an important feature: They allow information to be understood from multiple perspectives.” (14) The defining of perspective is a relevant factor in my project, because it is my goal to have users travel or move through space in order to access content. The environment that the user travels through, should appear to have depth and dimensionality; creating an illusion of the existence of a “Z-axis”. The environment should make the user feel immersed as they travel through.

Meadows defines four steps of interactivity; Observation, Exploration, Modification and Reciprocal Change. The user assess the system, then interacts, the system changes in response to the interaction, the system changes the user. If its interactive, and the user is engaged, the system offers change to the user. Repetition generates patterns. The user learns a pattern once and expects it be the same at every juncture, offering a multiple set of perspectives.

These definitions are put to use in my project. I ask the user to explore, yet once they learn a navigational technique; it remains constant through out the course of investigation.

The Experience Design in this project is supported by the graphical metaphor of an environment, created from the design of the body of the Ducati Motorcycle. The interactive narrative uses the metaphor of traveling through the space in its design. The user moves through the illusion of 3d space within the context of a 2d screen, on the way to accessing information. It demonstrates how an environment can be used as a method for designing experiences. 2.3.5. IDEO, Tom Kelly

Tom Kelly is the general manager of the design firm IDEO, an award winning design firm, known for cutting edge product design and services, fostering a culture and process of continuous innovation. (15) Kelly is an important contributor to the field of experience design, as creating innovative experience is the heart of his work.

In his book, “The Art of Innovation,” Kelly goes into great detail about the step involved in creating experience driven products. He suggests that in developing experiences, one has to investigate and analyze all of the increments of the user scenario, truly embracing the user. He advises designers to think about the processes involved in making products in order to find elements of the experience that can be brought to life.

“Innovation sometimes starts with a small improvement. But a better-designed experience often comes about when you can transform a niche product to something broader that resonates with your customers.” (16) Kelly suggests that we make experiences entertaining, geared toward establishing a human connection. Humans crave good experiences, by turning a product into an experience, it is possible to reach a market that you may not have known existed. Designing experiences is about figuring out new ways to connect with people. He advises that in designing an experience, we need to be careful to strike a balance between what you wish to do and doing too much.

Kelly offers designers the room to “fail forward,” breaking the rules is often the key to innovation. He pushes us to investigate our user, understanding the actual experience of interaction with products in order to bring innovation to the table.

Kelly’s advice and techniques are found in the analysis of the Ducati community, through observation, literature and interview. His view of the importance of creating experience based design, gives an extra boost of support to the goals in developing my prototype. 2.3.6. R/GA

R/GA is an award winning web-design firm that, like IDEO has invested a lot of engery considering new ways to present innovative solutions for the web. R/GA’s main philosophy in design is guided by 3 basic principles: be strategic, be creative, and be collaborative. R/GA is important in terms of my thesis due to their development of the NikeDesign site, as it is a good example of a site that uses experience design in its development process. I discuss this project in detail in the Precedents section of this paper. The NikeDesign website was one of the first sites to take designing web bases experiences to a new level. The design community was impressed. HOW Design Correspondent, Gil Kaufman, describes in great detail the processes and methods R/GA pursued in the development of the site:

“The design team didn't initially fret about targeted age groups, demographics or sales initiatives; instead, they worried about how to capture the hearts and eyes of early adopters. They wondered: "What if you could (virtually) hold a shoe, spin it around on your screen and peel it apart layer-by-layer?" "What if you could build a custom shoe from the sole up, choosing the color and style of everything from the shoelaces to the stitching on the side?" "What does comfort look like? What does it feel like?" More important, they wondered, "How do we represent it on a computer screen?"

The RG/A team, lead by art director Rei Inamoto, (18) used innovation as its focus. They used brainstorming sessions to find ways to talk about products that were new, searching for ways to connect to the user on an emotional level. They wanted to tell a story in a non-traditional, non-linear way. They looked to new disciplines, such as film and spatial design to find solutions to their design problems. The R/GA, Nike example supports the innovation that my project strives to emulate in many ways; trying to visualize product design and aesthetic in a new way, translating those discoveries into a computer screen, wanting to tell as story, but not a linear one. The task of looking to bring something unique and progressive to the table in terms of design.

2.3.7. Conclusion Designing experiences is an immerging field that demands we as designers ask new questions, from new perspectives. It demands that beyond everything else, we understand our target user, so well that we help them see themselves in a new way, in a way they didn’t expect, and in a way that inspires, entertains and educates them.

It stresses the objective of providing the user with an experience of product, instead of simply direct access to information. Experience design makes its sale in the artistic translation of the experience of a product, in order to affect the user on an emotional level. It offers us something unique, compelling and new, satisfying the basic human condition for fulfillment, for new and rich experiences. 2.4. Design Aesthetic of the Ducati Motorcycle A major aspect of the experience design in this project is supported by the design aesthetic of the Ducati Motorcycle. Translating the visual aesthetic and its attributes is an important and valuable method of translating the Ducati experience.

2.4.1. Pierre Terblanche An important and influential part of my research was that of Ducati Design Director, Pierre Terblanche. I was fortunate enough to attend Terblanche’s lecture “The Art of the Italian Motorcycle” which featured the new Triple 9 (999), on November 19, 2004 at Figure 4. Photo of Pierre Terblanche the Lars Anderson Auto Museum in Brookline, Massachusetts. As with the Triple 9 Rodin is to sculpture, Terblanche is to moto design. Terblanche, originally from South Africa, has worked in Advertising/Marketing Source: 999 Book and designed Volkswagen interiors prior to working for Ducati. He has spent the last 16 years with Ducati and has signature on Why is the Pierre Terblanche idea basically all of the motorcycles that Ducati currently makes. His important? Because it uses the design aesthetic of the Ducati lecture was a brilliant synopsis on the process and methodology motorcycle as a tool for Design. behind creating great industrial design. When asked why he became a designer, Terblanche admits he has no choice; he is compelled to design. He has remarkable talent for producing an aesthetic quality for the otherwise comparatively brash mechanics of a motorcycle, an aesthetic that in truth evokes loyalty and communion with its consumer. He showed sensitivity for the ergonomic needs of the community and his successful accommodation of those needs into the motorcycle design. The lecture gave overview to the history of Ducati, from 1949 to the present, giving credit to Dr.Fabio Taglioni, Fig . 5, the legendary creator of the original SuperSport. Terblanche explored the designs of the 916 model, known as everybody’s favorite, the 888, the Paso 2, known as the one that got away, the Supermono, the 900 SuperSport, and the currently most infectious Ducati design, the Triple 9 (999). Figure 5. Photo of Dr.Fabio Taglioni When Ducati asked Terblanche to create this bike, their direction was “make it red, fast and sexy…” the rest was up to him. His approach to the design included using a narrow and sensual shape and form, with a decidedly “see-through” interpretation for the lines of the bike frame and its glossy components.

With the design of the 999, Terblanche used a process of selecting and narrowing down the form, establishing key decisions as to what will be seen, and what will not be seen, with the aim of creating the ultimate experience for the motorcycle rider. As he spoke of his sketches, I could imagine the dust of wild horses rushing from within the forms and faces of his designs. I could feel the figures of beautiful women, woven into the shapes and curves of the motorcycle frame. The aesthetic experience of the design guarantees the rider a transcendence; the experience of riding to flying, the power and exhilaration of running horses, the use of the machine to achieve a feeling of freedom and flight. In this project, the research on Terblanche’s vision will be interpreted and used to support the identity of the Ducati Community and the design experience of my prototype. The design aesthetic is in itself a tool for interpreting to the community of Ducati Enthusiast. 2.4.2. Community and User Research Understanding the community as a function for design is a driving factor in my project. The Terblanche lecture was serendipitous to establishing real communication and contact with community leaders and members. The event was attended by an (estimated) 200 men and 30 women, mostly Caucasian, middle to upper income individuals, coordinated by John Rossi, US DESMO Northeast representative. All of the people attending were extremely pleased to be a part of it; all of them were fascinated by Terblanche’s presentation.

As stated by George Giffin, a Track day Instructor and card-carrying Ducati lover since 1972, “Passion is best felt when you are around Ducati owners, the first time owner or the collector. It is hard to find a Ducati owner that changes to a different marquis and if you do, you’ll probably see him coming back to the fold soon… this was a once in a lifetime event for me… There are motorcycles that are faster that may even handle better but none with the beauty and uniqueness of Ducati”. Giffin’s statement articulates a common theme expressed by the Ducati community. It was apparent that we all shared the same passion, that we were members of the same tribe: the affinity for a design aesthetic, the common bond.

As stated by John Rossi: “My two favorite pastimes are Downhill Skiing and Motorcycling and there's no substitute and no 12-step program on earth that would prevent me from doing either sport. Three words summarize my first track day experience: fear, exhilaration, and addiction. ”

Another central resource for identifying the Ducati community has been the DucatiMonsterBoard.com. This is an on-line public forum where Ducati Monster enthusiasts can engage in conversation about Ducati. This community generously provided feedback and articulated their views on the aesthetic and fascination with Ducati. I posted my question and within hours was directed to over 50 user responses. One response from a Ducati enthusiast describes this aesthetic: “The other day, I was looking at my Monster from the side and realized that she looks like a beautiful woman laying on her side with her back facing you. The tank resembles an upper torso and broad shoulders, the seat- the arch of a trim waist, and the tail- voluptuous hips.”

The aesthetic is formed from the mechanics of the bike, the delivery of the function within the form; a personal and subtle communication from the designer to the user that translates fantasy in a mechanical product that the user can interact with and benefit from. It translates an extravagant experience brought on by the industrial mechanic of the bike. The general consensus is that Ducati creates passion and loyalty in its users. For more information on key responses that help form the perspective of the community please see APPENDIX C. Ducati Character Document … P86

As a result this research, I have identified the three most important Ducati communities as Ducati, the main public image of Ducati, USDesmo the main public image of United States riding community, and DucatiCorse the main public image of Ducati’s racing subsidiary. Each of these uses a specific iconography to appeal to and identify with its users. This iconography is used through out the design of interface and navigation in this project to connect with users. The project uses these community identities help to organize and design information.

2.4.3. Ducati Rider Community Evident traits and characteristics common to these Ducati Communities, a.k.a. the Ducatista, are defined as: an emotional sensitivity to the aesthetic design of the motorcycle: its sensual form and structure igniting passion for its balance of beauty and power, its physical dimensions and capabilities; an affinity for originality and independence: “things that are slightly left of 'standard' are more interesting”; a desire for the experience of adrenaline, flight, power, speed and transcendence and an affinity for the camaraderie found in the exchange this experience with other like-minded people who hold this perspective. 2.4.4. Ducati Racer Community The Racing community in this country as well as in Europe, encompasses passion. Scores of Ducati Enthusiasts follow the AMA race circuit, shipping their own Ducati motorcycles to the events, traveling in packs, wearing Ducati shirts with pride. At the March 2005 Daytona200, there were only two riders on Ducati at the Superbike event, versus the mass numbers of Honda’s and Yamahas. Neil Hodgson, on the Triple nine placed second. Ducati fans love these kinds of statistic, small in number, but still make the grade.

The race community and ride community bond to the Triple nine (999). It is the Ducati masterpiece, full of grace and power, capable of tremendous performance.

2.4.5 Conclusion

Understanding the community supporting the Ducati product, how their lives are transformed by the lifestyle and tradition and the expressions of their particular point of views are used in the development of the interface design in this project. Images and metaphors are created specifically for the appeal of this audience.

Further discussion of how this project uses the experiences, habits, and lifestyles of its members within the distribution of content, the design of information and interface is presented in Chapter 3: Methodology. 2.5. Precedents “We know that there are consumers out there using [the Web] that are looking for the latest and greatest products that bring something new to the table in terms of design, “ says Brian Finke, Nike’s director of digital brand marketing, about the task assigned to New York City based design firm R/GA in summer of 2002. We wanted to deliver an experience that was unique and engaging, inspiring and entertaining.” (19)

2.5.1. Nike: “Design by Nature”

Nike: “Design by Nature” is a great example using experience design to promote product. The design uses the concept of a graphical environment, visually ubiquitous and organic with simple, beautiful animations and sound to support an on-line experience that hosts content; in this case, information about sneakers. The user is explores a visual world that is Figure 6a designed to promote the experience of the using the product itself. The design experience, gives that user a more fluent and exciting interaction with the product.

The user enters Nike.com and chooses the Nikelab section. The Nike lab section features 3 exhibitions: Restoration, Art of Speed, and Design by Nature. This entry point leads to the Figure 6b featured exhibitions. A graphical spot light effect clings to the mouse and highlights each of the exhibition graphics as the user rolls over them. When the user clicks “view all” the 3 graphics reduce size and can be seen together side by side [Fig. 6a & 6b]. Once in this menu, rolling the mouse off of the graphics reduces their size, rolling the mouse over the graphic pulls it forward in a larger size [Fig. 6c]. Figure 6c Clicking Launch “Design by Nature” brings us to a new environment of falling leaves, against the sky [Fig. 6e], which lands us in a new environment inspired by nature.

This environment is a collage of leaves and foliage [Fig. 6f] with moving ants, ladybugs, blades of grass Figure 6e moving and the sounds of chirping frogs and ambient music. A caterpillar scrolls across the screen and offers us menu options: inspiration, research, evolution and design. “Inspiration” Content is “Inspired by barefoot runners, Nike set out to understand the strength of the natural foot.” The experience is of being in a meadow, a grassy field, exploring the details, finding Figure 6f information hidden within the design, activated by exploration.

Clicking “Research”, moves the graphic background to the right, and shows a new design, content outlines scientific research [Fig. 6g, Fig. 6h].

Figure 6g

Figure 6h The “Evolution” section, gives a new background, with animations of insects you might find in the grass. Content talks about the new sneakers flexibility [Fig. 6j and Fig. 6k].

Figure 6j The “Design” section displays the different type of features sneakers in the modified environment inspired by nature. The caterpillar changes into a butterfly, after clicking on the second menu options and remains a butterfly as the user continues to scroll [Fig. 6l and Fig. 6m].

The environments used here are a visually compelling, Figure 6k luscious and organic display, with subtle and appropriate animations in each scene and a sound script that is simple and looping, adding to the feel of the environmental experience. Lost in the visual escapade, the user is transported into a virtual world that is much more about the experience of being on- line and being engaged with the site, than it is about the sneaker itself. The design utilizes technology to

Figure 6l create the experience that moves beyond the traditional concept of a page; the environment captivates and engages the user.

The experience design in this project will use the interface metaphor to entertain and provide attraction and engagement but will also present ways that uses can rapidly and clearly access content information.

Figure 6m 2.5.2. VWPhaeton The website used to advertise the Volkswagen Phaeton is another important precedent for my work. This site uses the graphical metaphor of stars in a galaxy to showcase product information about the car. The main interface provides users with options for the home page entry point, “Your Journey” option which track where in the site the user has been, pan and zoom options and a Map search option. The home page Figure 7a explains what the site is about: “The Phaeton is built in a transparent factory. The walls are glass, glass the doors are open. This site has no sections, no submenus, no tables. Your journey is up to you.” [Fig. 7a].

The user clicks the ‘Begin here’ option to begin the journey. The site responds by removing the homepage graphic and reveals a set of stars. Holding the mouse over the stars reveals information options [Fig. 7b].

Figure 7b

Clicking on the individual star readjusts the graphical interface and gives the user a unique perspective of the galaxy. The site is constantly zooming in or out depending on the user interaction. This web site is an excellent example of an interface that actually responds to the users touch [Fig. 7c and Fig. 7d].

Figure 7c

Figure 7d When the user clicks on one of these information options (stars), graphical and text information are revealed. These items are designed to create a futuristic look and feel to the information design [Fig. Fig. 7e, Fig. 7f].

Figure 7e

The graphical illusion of 3-dimensional galaxy space is developed to make the user feel like they are on a mission through space. The site continues to expand and reveal more stars, with more information topics. It is a beautiful and creative flash solution that emulates the experience of space.

Figure 7f 2.6 Conclusion

The above precedents reflect unique solutions for accessing internet based content that focus on the user experience. Although this trend is becoming more accepted as a means of innovative web design, it is still far from the norm. Few designers are given the opportunity to be this creative; it is hard to predict the budgets used or the number of people working on these projects. Nevertheless, as we move into the future, with the progression of the average user knowledge, the growth of access to broadband and wireless, and the movement away from the restrictions of designing for a 56k modem, these types of navigational systems will gain more popularity and acceptance. CHAPTER 3. METHODOLOGY 3.1. Introduction This chapter outlines the analysis of the principles and procedures of inquiry in my project. It is divided into 4 main sections: Foundations for Creating Design Solutions with Experience, Identifying Key factors of the Ducati Experience, Preliminary Experiments for Design Solutions and Prototype Solutions.

The processes outlined in this methodology explain the progression of interpreting of the Ducati experience from the physical world of racing and riding Ducati Motorcycles to the virtual world of experience design, in order to provide users with transcendence beyond traditional techniques of access to information, as well as an exciting and engaging translation of the design aesthetic of the Ducati Motorcycle.

3.2. Foundations for Creating Design Solutions for Experience In my background research I have outlined and identified how the current industry trends are defined, according to Jacob Neilsen, Donald Norman, Robert Jacobson and Steven Johnson. I have also discussed the importance of the emergent field of experience design as defined by Nathan Shedroff and Tom Kelly, and have articulated its importance to designing solutions for new user interactivity.

With these principles defined, my next steps were an initial investigation of the company of Ducati, in terms of Information Design, defining how this information needed to be organized so that it could be easily accessed within the framework of experience design; the investigation of Ducati in terms of culture, identifying the common characteristics of the Ducatisita in order to accurately assess interface design and user navigation of the project; and organizing and collecting specific feedback from my user audience, in order to guide the design process and ensure the accuracy of the project’s overall design. 3.2.1. Investigating Ducati: Overview Founded in 1926, Ducati builds racing inspired motorcycles, characterized by unique engine features, innovative design, advanced engineering, and overall technical excellence. Ducati has won thirteen of the last fifteen World Superbike Championship titles and more individual wins than the competition put together. The company produces motorcycles in five market segments, which vary in their technical and design features and intended customers: Superbike, SuperSport, Monster, Sport Touring and Multistrada. The company’s motorcycles are sold in more than 60 countries worldwide, with a primary focus in the Western European and North American markets. (20)

This year, Ducati sold approximately 30,000 bikes worldwide, of which under 4000 are sold in the United States. (20) Ducati sales statistics are relatively small in comparison to the large number of community organizations devoted to Ducati that exist worldwide. The exclusivity is intentional, like Ferrari, Ducati wants to be known for superior design and uniqueness, rather than the numbers sold. The dichotomy between the numbers of community members and the number of bike sold yearly presents, to me as a designer, an opportunity here to improve Ducati’s strategies for representation.

Ducati’s desire to remain non-ubiquitous makes them a great client for testing new ideas of user interface methodologies. The brand is established in the general public is one of style and originality. Cutting edge mentality is obvious in their design of motorcycles and in their marketing materials. Ducati users buy into an affinity with the uniqueness of design. They are a target audience that is interested in innovation, entertainment and indulgence. The translation of the Ducati experience directly applies to the goals of experience in this project. The product in itself, with its powerful, sleek form and seductive lines, translates the gift of an exciting experience. 3.2.2. Investigating Ducati Information Design 3.2.2.1 November 2004 Ducati Website

The Ducati website was updated for 2005 in November of 2004. It conveys a general, informational experience of the motorcycles and community, iconography and photographs, information on this site is clean and well distributed with in each the topic sections. Although Figure 8a: Ducati Homepage this is an example of effective information design, the site uses a traditional page-by-page format and linear flow. The site appears to have outgrown its original information design and seems almost ‘full to its capacity’. The design of this site incorporates an abundance of exciting photographs on the community and the motorcycles, but there is no use of graphical metaphor to display content.

The site opens with the Ducati Homepage, which presents a general overview of everything that is in the site. The information is Figure 8b: Racer Section organized into feature sections of Racing, Bikes, DucatiWorld, and E- store, and uses a header navigational system of Company, Bikes, Heritage, Racing, DucatiWorld and E-store. The Homepage also features many links to important features through out the site, presented within main topic headers [Fig. 8a].

Clicking on the Racing section brings us to forum that features DucatiCorse, National, SBK (Team Ducati) and MotoGp. Other features include: Latest News, Achievements, Photo galleries, Video, Figure 8c: Bike Section Sounds, Wallpapers, Screensavers, and information on Racers [Fig. 8b].

Clicking on the Bikes section brings the user the main gallery of bikes, giving the user access to information about every model that Ducati offers, via a main navigational section that animates each of the models within the same table [Fig. 8c and Fig. 8d].

Figure 8d: Bike Section Clicking on a particular model, in this case, the Monster 620, brings the user to a forum of the specific bike [Fig. 8e].

From this page the user has access to any information one may need about the motorcycle itself, by interaction with the links on this page. By clicking on Chassis, a new page

Figure 8e: Bike Section opens up with the technical specs. By clicking on Features a new popup of the bike gives user information via rollovers [Fig. 8f].

Each of Ducati’s models can be accessed by an information set based on this design. The user has access to a plethora of information, but there is no design experience woven into the interaction. The photos used are sleek and professional, which creates excitement in the user.

The site considers every possible option for user access to Figure 8f: Rollover Information information, but limits the user access to the experience that is defined by their products, therefore overlooking where successful marketing requires the communication of some aspect of the consumer experience with the product to gain new customers.

Why is providing too much information in some cases ineffective? The user tends to get overwhelmed, becomes distracted and experiences anxiety over having too many options. 3.2.2.2 Topic Overview and Outline

Through strategic analysis of the site and of Ducati marketing materials and the purposes of condensing informatation for use in the designing of experience in this prototype, I have established an alternative menu topic outline that simplifies and reorganizes their material into four major topics: DUCATI, Bikes/Design; DUCATICORSE, Racers; USDESMO, Riders and E-SHOP, On-line Shopping.

The topic map below [Fig. 9] provides a visual overview to the organization of this content.

Figure 9: Information Design Topic Map Topics presented within the umbrella of DUCATI, will include bikes and design aesthetic, sound and heritage. Topics presented within the umbrella of DUCATICORSE, will be information on bikes and racers, passion, community, community events and authorized dealers. Topics presented within the umbrella of USDESMO, will include bikes and riders, touring, community, community events and authorized dealers. E-SHOP will define the online shopping section. The shopping section will also be used to the promote feature information within all sections of the site, as well as present actual Ducati gear and accessories.

Each of the four main topics uses a unique graphical metaphor for environment that is created based on the specific intentions of the section, in pursuit of identifying with the community of interest. Sub sections use variations of the established metaphor to enhance interpretation and provide variation.

3.2.3. Investigating Ducati Culture and Community In section 2.6 of this document I discuss research conducted on identifying what the characteristics are of the Ducatista. Their lifestyles, their habits and the common bonds shared by this community.

At the Pierre Terblanche lecture, as discussed in section 2.4.1, it seemed true that everyone there shared the same passion, that they were members of the same tribe. The affinity for a design aesthetic, created the common bond.

These characteristics of culture and community can be summarized as an emotional sensitivity to the aesthetic design of the motorcycle, an affinity for originality and independence, a desire for the experience of adrenaline, flight, power, speed and transcendence, as well as an affinity for the camaraderie found in the exchange this experience with other like-minded people who hold this perspective. How does the design of this interface in this project support this community’s lifestyles and habits? These user traits can be translated into the interface design by designing in unique, creative and unconventional ways; “things that are slightly left of 'standard' are more interesting”. Providing the user with graphical navigational systems that function within the metaphor of environment.

Figure 10a. Image of the project’s interface Design The project uses the sensual form and structure of the body of the motorcycles to ignite a sense of passion in the user. It translates the physical dimensions and capabilities of the bike and experience of the bike by use of the design aesthetic. [Fig. 10a & Fig. 10b]

Creating dynamic and visually compelling environments that present content in a way in which the user would not anticipate, to awe and excite the user through the design of interactivity. Ducati is a great company to use for experience design because of the characteristics of the Figure 10b. Image of the project’s interface Navigation community support the design of non-traditional interface techniques.

The Interface in this project has been designed to challenge current industry trends, to meet the needs of an audience that is looking for a more intuitive and exciting interaction with web based products. 3.2.4. Investigating General Usability, Incorporating User Feedback In my initial attempt with the project’s development, I contacted 30 general users via email asking them to look at two web sites, Nike.com/NikeLab and Ducati.com and to give general feedback on their experience with these interfaces.

The Nike lab site, a more progressive interface example, uses a design metaphor of construction markers, tunnels, futuristic 3D environments, digital motion and sound to present product. It uses a gradual placement of menu topics based on user interaction. The Ducati site is more traditional and straightforward, with an opening header graphic supporting specific brands and icons to access information on each page, no motion graphics, and no hidden agendas.

The general summary of user feedback was that investigating motorcycles was inherently more exciting than sneakers. Users felt the Nike experience was exciting, visually more compelling and dynamically entertaining, though very difficult to access direct product information. Some users even found this interface inherently aggravating, waste of time. The response for the Ducati site was that it was more clear in presenting content, the user could access any information from any where in the site, but that it was overwhelming; presented too much information.

The feedback establishes a need for re-assessing the information design of the Ducati. People use the Ducati site to explore bikes, racing, events and communities, to shop and to locate dealers.

Each reiteration created for this project has been put through usability testing by Ducati Community members. Testers are given links to the prototypes and surveys are used to analyze the interactive experience and the experience of the design. Feedback is incorporated in order to insure the accuracy and success of the design. 3.3. Methods for Designing the interface of the Ducati Experience 3.3.1. Immersive Environment as a Method for Experience Design. An experience is defined by Merriam-Webster as the conscious events that make up an individual life, the events that make up the conscious past of a community or nation or mankind generally, something personally encountered, undergone, or lived through and as the act or process of directly perceiving events or reality.

The Experience Design in this project is supported by the graphical metaphor of environment, the illusion of 3d space within the context of a 2d screen. It demonstrates how environment, the graphical design suggesting a sense of place, can be used as a method for designing experiences. Each of the four main topics use a unique metaphor for environment that is created based on the specific intentions of the section, in pursuit of identifying with the community of interests.

Why is the use of an immersive environment as a method for experience design a good idea? Visual metaphors of environment supporting the illusion of depth of field and 3d space create a new world for interaction design. Ideas for scenarios such as “Feel the Power of the torque, bringing the front wheel off the ground”, “Imagine your life on tour, the world as it looks from the point of view of the rider” can be translated through the use of a graphical metaphor. Movement of light and sound strategically placed within the interface design can direct the users eye and mouse over the screen. Sound is used to support the illusion of space and is designed to respond to user interaction. Text and image will be incorporated after establishing the metaphor of space. This technique is used to make the user feel like the site is responding to their touch. The concept of the user "traveling thru a site”, exploring the details takes us away from the interpretation of the site being a page. Icons in environment direct the user activity in a passive way, allowing for the experience of the product and community to be more at the forefront of the user interpretation as they access information. Ducati is a great company to use for the implementation of these techniques because the defining characteristics of the community support this methodology. 3.3.4. Library of Technical Mechanics HTML, Flash Based Mechanics A Library of Technical Mechanics is being used to support the interactivity with in the experiments. These experiments will be developed in Flash, a handy resource of effective animation techniques will be used to create excitement and provide consistency of the design. Each environment will explore the use of color, light, movement, modes of interaction, Figure 11. “Hierarchy for iconography, sound, text and images [Fig. 11]. Mechanics ”

System Response to Cognitive User Exploration The graphical design of the general user interface must support a cognitive sense of user exploration. User exploration needs to be instantly obvious, engaging to my target users, specifically those who define this project’s “Nike Goddess”, the quintessential form of the perfect user: George, 55, Ducati Rider, Track Day Instructor, and Lifetime Ducati Enthusiast and John Rossi, 40, Ducati Rider, US Desmo Representative. Access to content needs to be not only obvious, but also engaging and better than what Ducati has now. The system needs to appear intuitive, as if it is always responding to the users touch and exploration.

System Response to Idol Time This system uses animation of light moving across the screen in response to lack of interaction of the mouse with screen. When user interaction is idol the system prompts the animating light, which in itself is a prompt to the user to engage. The rollover states, giving users access to other sections of the site are designed to be much larger than the actual icons used on the screen, thus wherever the user moves the mouse, a graphical rollover will appear. An assumption is made here that the revealing of one roll state will prompt the user to explore. The access points provided are simple and minimal so as to not overwhelm the user and provide instant understanding as to the number of access option. The use of light presents a more subtle and fundamentally less annoying technique than an elaborate metaphor of the character guide.

The whole system has to be sensitive to lack of user interaction. If some one has not clicked in a certain amount of time, the system senses that and automates them into the <>. This sensitivity can be developed within Flash action script. I won’t have time to build out this entirely, but I will incorporate the metaphor though out the site as applicable.

Use of Sound The design of sound and the subtly of incorporating sound in this piece is important. Use of sound needs to be incorporated only when it is entirely appropriate as to avoid the interpretation of being annoying. Actual recording of the Ducati Sound will be incorporated into the piece.

Treatment of Text The whole idea of the graphical metaphor is broken with the use of text, yet text is imperative in some cases. The traditional methods of the “chunking of text” is an inadequate way of describing what needs to be done here; it is an attempt to not use text at all, as it reminds us of a page. Text is distracting to the exploration of the environment. This is because text deviates from the “atmosphere of the environment”. The use of text should be minimal as possible. Places where lots of text is needed to support the information surrounding a topic should be placed outside of the environment metaphor and designed in a way that more closely resemble pages we will find in fine print design that do not reflect a system developed via html forms and tables. Use of Icons Icons, graphical symbols used to identify topic sections can break the feel of “being immersed in an environment”, thus breaking the concept of experience. The Icons have to be dealt with carefully, to give the user enough visual identification, so as to provide clear identification to the information to be accessed as well as fit into the graphical illusion.

Use of graphical transitions between sections. Clicking on an icon brings users to a new section. In order to support the illusion of being immersed, there has to be a graphical transition used to visually move users through the environment. When the graphical environment changes abruptly, resembling the loading of a new page, the metaphor of experience is broken.

Use of Pre-load. Pre-loading of Flash files can be implemented during these transitions. It’s like an invisible way to load graphic files while the user is distracted by the visual transition happening on the screen.

3.4. Preliminary Experiments for Design Solutions This section outlines the design solutions proposed and presented for review of the Parson’s community in terms of Thesis approval for fall of 2004. It shows my initial design of information and the use of immersive environment for the access of content information. Response from the community is interpreted and strategies for further development are outlined. 3.4.1. Re-structure of Ducati Information Design.

Information Design in this project evaluates the current Ducati web site and marketing materials and determines the best ways to condense and re-distribute content in order to provide users with better access to information. The condensing or crunching of information is important in this project because designing experience in a web based environment requires that content be reduced to the absolute essentials.

My first attempts at establishing the wire-frame suggested a menu topic outline that simplified and reorganizes material into four major topics: DUCATI, USDESMO, DUCATICORSE and E-SHOP. These topics would be accessed via an intro splash screen that provided users with 3 possible avenues navigation to access information. The main navigation would lead the user to the 4 main topics, from which many levels of submenus could be accessed. The first alternative for navigation was to be a user guide or “Tour Guide” feature that automatically directed the user through a series of predetermined pages, based on the site’s most important features. The section alternative for navigation was to be a system of blocs that gave users access to any page in the site at any time. This concept is illustrated in the following diagram. [Fig. 12] Site Map: Version for Fall 2004 3.4.1.1 Figure 12: Site Map: Version Fall 2004

Figure 12. Initial organization of information, image of wire-frame hierarchy. 3.4.2. Interface Design, Navigation and the Immersive Environment 3.4.2.1 Versions for Fall 2004 The section of the project that was built out for the December review was my initial version of the Motorcycle gallery. This metaphor used white lines in black space to create the illusion of environment. It uses the idea of "balance", movement thru the fog, Figure 13a. Step 1 a gallery of lasers, each bike is a character with something to say about the ride in the fog over the hill a windy two lane road, specifics about how the bike handles and feels. It is the precursor to the gallery I have built for the final project. The user interaction in this metaphor was outlined in the following steps:

Step 1 [Fig. 13a] Figure. 13b. Step 2 FOG, and lasers: User interaction makes fog dissipate.

Step 2 [Fig. 13b] Spiro-graph of lines and perspective defines 3D illusion of space for bikes. Main menu loads into screen. User clicks on “SuperSport, views Triple 9 (999

Figure. 13c. Step 3 Step 4 [Fig. 13c & Fig. 13d] User interaction with bikes themselves reveals specific information. User interaction within the graphical interface, including images with the bikes will provide direct access to the content, users are looking to find. A user will find the site has lots of choices, lots of unique ways to experience the site as a whole, as well as providing direct access to important specific content information. Content design is strategic, to surprise the user and Figure. 13d Step 4 support and environment with exciting and engaging interactivity. 3.4.3. Response to Project Proposal Overall the response to the project was good. Users generally felt that the use of an immersive environment was a better avenue for accessing Ducati content, but there where other aspects of study which would require attention in order to make the project successful. Main concerns were that the way I constructed the project and presentation restricted the use of environment in exchange for a clean organization of web marketing, and that a further investigation of environment as to how it can be applied to interface was needed. Actualizing and interpreting the user flow, and understanding the use of flow in terms of experience was noted as a crucial technique that need to be understood and articulated in terms of this project.

Other concerns were articulating the design aesthetic and the need to demonstrate progression in the creation of alternative devices for user navigation. 3.4.5. Actualizing the Experience of Environment In response to the feedback received in the final review, I went ahead and began documenting actual environments. I conducted many visual studies of the urban landscape in order to understand how the elements could be used to support engaging and exciting experiences. I documented driving through the manicured communities of palm trees in Naples, Florida. I examined city streets and the changing of street lights in consecutive flashes of red and green. I studied the paths of airplanes overhead, I studied the movements of blinking light and progression of loading giant freight ships at the port authority. I studied the racetracks in Daytona and in Vegas, collecting information on the details of environment. I analyzed size differences of objects from different perspectives on the horizon. One major observation was the size difference of the cranes of the Port Authority and the Statue of Liberty. When viewed head on the crane were much larger than lady liberty. When viewed from a rooftop, with the exact same direction, lady liberty is the same size, if not slightly bigger, than the cranes on the horizon. This unique angle of perspective in used in developing the transitions in space defined in the project.

Although the collection of this data was important to the understanding of the visual interpretation of space, I was advised that the true nature of the Ducati experience was with in the aethetic of the bike itself.

I needed to nail down my user experience in terms of user path ways and user flow, I needed to finalize the sitemap that illustrates that flow, and articulate the design aesthetic that was to be used in the translation of Ducati Experience. 3.5. Prototype Solutions My project went three major revisions in the thesis concept development stage and through out the creation of the pre-alpha. Revisions were based on analysis of information design in terms of what were Ducati’s most important topics of information and providing user access to coherent navigation within the construction of an interface designed on the principles of aesthetic and experience.

This section gives an overview as to the processes and methods considered and implemented in its development.

3.5.1. System Overview The system opens with a main screen, the “homepage” or “main menu”, which gives users access to 5 main categories of interest.

WHAT USERS GET: Each environment uses an animating menu option designed to fit the metaphor to give users traditional access to any section of the site.

User guide; the Ducati goddess This option gives users access to the site in two ways. The first provides users with an automated guided tour to the best features of the site. The second is a visual overview or clickable sitemap that gives users direct access to any topic section in the site.

Racers; Ducaticorse In this section users get information about individual racers, events and communities along the way. The environment metaphor used here is the Las Vegas motorcycle racing circuit.

Riders; US Desmo: In this section users get information about events and communities along the way. The environment metaphor used here is streets of NYC. Gallery; Virtual Lasers

In this section users get access to all of Ducati Bikes, interacting with the bikes gives you information about them and links to Dealer. The environment metaphor used here is a virtual gallery of lasers that are used to host the five model lines of Ducati motorcycles: Monster, Multistrada, Sport classic, Sport touring, and Superbike. With in this gallery section, there is access to two sub sections that features Pierre Terblanche, (Design and Heritage) and access to Authorized Dealers. The designs of the subsections are modified to reflect the personality of Terblanche, Director of Design and the featured Dealer.

This concept was modified significantly in the final project. Instead of the metaphor of lasers, beautiful environment built out of a system of gears was developed. This added to the believability of the transition from the Gallery icon, which resembles a “building made up of strange parts of gears.”

E-Shop In this section users get a shopping environment that let’s them scroll and browse products, the environment used here mimics driving down a street in Naples Florida. The experience is intended to provide the illusion of shopping amongst the palm trees and sunshine.

3.5.1.1 User Pathways, User Flow, and Navigation

There are three ways that users can interact with the sections in this site. The user guide provides two specific pathways: the automated tour and the clickable sitemap.

The overall experience of information is provided via the navigation on the main menu, using a left to right hierarchy of information. From each section, there is an unique menu system that gives access to the other sections of the site. Each section prompts the user to continue, which keeps them on the recommended pathway. prompts the user to continue, which keeps them on the recommended pathway.

3.5.1.2 Site Map: Final The clickable sitemap gives users access to any section of the site, providing the option of leaving the recommended pathway, if desired. See [Fig. 14] below.

Figure 14. Sitemap: final organization of information, image of wire-frame navigational hierarchy. 3.5.2. Site Form and Function: Pre-Alpha Based on feedback from the Fall 2004 final review, I analyzed and rebuilt the project wire frame and navigation. I based on the graphical interface on the design aesthetic of the Ducati Motorcycle merged with the environment metaphor that I scripted for each section.

My first step was to determine the user flow through out the site, articulate the design aesthetic, define the interaction and accentuate the concept of experience. With the actualization of information design and visual aesthetic, I was faced with the task of defining the experience, making the distinct interpretation of the experience clear to the audience, and integrating a navigational system that would support the metaphor in order to make the user feel comfortable, identifying instantly what they were involved with, how they would access information.

3.5.3. Pre-Alpha Usability Testing, User Feedback

I decided against submitting the pre alpha to user testers outside of the Parsons community because the initial response I received made it clear that my group of general Ducati community users would not clearly understand the navigation used to demonstrate the flow of the user pathways throughout the site.

Response to Pre Alpha: Visual direction of using the body of the bike as a metaphor for the environment was met with positive response, but that it lacked the sound, the 3D, and the experience?

Karen Sideman suggested I turn my user guide into a “You are here” map and incorporate the methodology of navigation into every page. She also assisted me in dividing up the screen real estate more effectively. Her comment was to nail down the experience, the designer and the user must agree. “Experience: to me, part of having an experience would be an organized awareness of the thing while it is happening. Some little part of you watches yourself having the experience and notes that fact. If the experience is metaphorical, then this awareness needs to be quite forefront. While using that Nike site, some part of the experience actually includes the little voice that says: Oh, I am supposed to be walking around in a meadow looking at little details.”

The question was proposed: What is the little line that should be going through the user’s mind when they visit your site? What, literally, is the experience they are supposed to be having?

The need to overtly articulate this idea to users became a driving factor in the project development. The nature of the experience is not open to user interpretation. The designer and the user must agree on what the experience is, or it won't be a useful navigational guide.

Solving this issue has proved to be a very difficult part of the design process.

3.5.4. Site Form and Function: Alpha

The initial project form was presented in HTML. Upon review, it was decided that the changing of HTML pages, broke the metaphor of being immersed in the environment. The transitions between screens, used to support the metaphor of experience, can’t be developed within the page template structure. The idea of experience requires that the user visual transition between topic sections. Thus, from this point forward the site was built completely with Flash. It was during this time, that I struggled with the elements of narrative metaphor and information design. How did I use one to support the other? How did I actually create the illusion of being in “Being in a strange, beautiful world of the Ducati Motorcyle, exploring the details, to access information?” And more importantly, how do I arrange an exploratory informational system. How can I transition my user through space? What defines an immersive, intuitive interaction of the web. I had the design aesthetic in progress moving along swiftly, I had determined the narrative scripts for each of the metaphors I wanted to use. How do we program access through space?

I spun my wheels. I ran in place. I tried desperately to find the solution in order to determine of user pathways and got desperately caught in trap of thinking linearly. The project’s intent was along the z-axis. It was important to the project, that the experience, the metaphor of being in a space, traveling thru a space, not be broken by traditional navigational structures. And at the same time, the navigational system had to support user access to content. I built a series of interfaces, supported by a Flash engine, that used graphic intense time- based animations to conduct the narrative. The result was a beautiful collage of images that kept reminding us that the interface was a flat page. I devised the narrative structure and access to content in the Racer and Rider sections. Both of these solutions failed, because we lost the metaphor of the body of bike in the transitions.

Another issue here, was giving access to any section of the site, any point. I had revised the sitemap in this project 4 times. It was imperative that we leave that option out of the picture so that we could isolate navigation in the main interface. I found my self thinking about the way the sitemap would work in terms of programming all the possible transitions. The solution instead became a reflection of the initial interface, from which we could utilize previous user learning. Finally we realized the solution for integrating the one metaphor: the body of the bike. This is the main access level, with five options. Clicking on the Goddess Icon, leads to the user guide, the racer leads to the Corse section, the rider leads to the USDesmo section, the Building leads to the gallery and the Palm tree leads to what will be the shopping section. It became apparent that this interface needed to be cut into sections, and physically enlarged to create the illusion moving thru space. This discovery occurred in the final weeks of development.

Though this discovery freed the project into full-scale production, the engine had to be completely reprogrammed. This put a major strain on the build out of the whole project.

Once the technique of graphical transitions were incorporated, it became more apparent as to how to build the interactivity on the secondary level screens, in a way that supported the narrative.

It became a mutli-layered, animating system of a base level information hierarchy, opening to a secondary level, the main level more intuitive, the secondary levels, more exploratory. The base level serving a 5-option topic menu, as one navigational system, leading to 5 submenus, each using an individual navigational system, with common tasks associated by common graphic identifiers.

This delay in production, meant the project was not ready to viewed and tested by my user groups for the Alpha. 3.5.5. Usability Testing, User Feedback I submitted the project, late in the semester to my group of user reviewers and the Ducati Monster Board on-line community, knowing there were major issues with the navigational system, but needing to ask the community there response on the project. Overall the users were confused by the navigation, but felt that the design pursuit of the project was compelling and engaging. Many responses made tribute to the design aesthetic and the project was met with great interest and response. It was apparent that once the user could understand the process of navigation, the experience of being on the site was exciting, compelling and unique. The intent of the design aesthetic was right on.

3.5.6. Site Form and Function: Beta

The final project resulted in a main interface that uses an initial animation to let users know what is click able on the screen. Rolling your mouse in a figure 8 over the screen, activates the rollovers. Each rollover state uses animation to convey content.

When a user chooses an option, a transition animation is Figure 15a: Goddess Section used to create the illusion that the user is moving through space to access another level or vantage point.

The transition to the new vantage point is used to keep the metaphor of “being in the strange, beautiful world of the body of the bike, exploring the details, and accessing content”.

In each of the secondary level options the metaphor is Figure 15b: Racer Section altered, projecting a unique narrative, and a system of operation is incorporated. This navigational system is built in flash, it uses it own narrative of blinking lights, and is incorporated into the metaphor for consistency. Interaction within these sections: the scenarios open up with an animating sequence that highlight the click-able option; interacting with the screen activates animations; transitions are used to make the site feel as if it responds to the users touch.

The information hierarchy is comprised of the five main topics. Each of these topics opens up to an environment with five or three options. The gallery section has more options for this system would be used as a showcase for Figure 15c: Rider Section bikes. From the gallery section and the e–shop section you have access to the dealer information.

The sitemap icon gives the user access to each section, from each section.

Figure 15c: Gallery Section

Figure 15d: E-shop Section

CHAPTER 4. FINDINGS/ EVALUATION 4.1. Thesis Review

My thesis review opened with the question: “Why did you get to design a marketing website for Ducati as a thesis?” This question pointed to an issue in my presentation of context. In the process of its development, the project had moved away from the original idea of the context being a redesign of the Ducati web site. Instead, its purpose would be as an alternate, exploratory system for accessing content. It could be hosted as a link off the Ducati site that would give users a new way of accessing the latest and greatest hot topics.

At mid term, the need for a revision of context became apparent. Designing an immersive experience for web projects requires so much compression of content, that it cannot replace the fluid access to any possible information choice, like that, which currently exists on the Ducati site. This project could be used in addition to the current site. It could be featured as an experiential site, promoting the latest news. It could also be used with a Kiosk in dealer stores, or could even be used in combination with a CD-ROM based catalogue. Because I had not clearly articulated that expression in my abstract, which I handed out to reviewers in the event that things were unclear, the context of the project was misunderstood.

Let’s clarify what has been utilized from Ducati. From my standpoint as the designer, this thesis has never been about addressing Ducati marketing needs. Rather, it has to do with using Ducati as a resource for content information, design aesthetic and user profiling. This thesis has much to do with moving the user through space to access information. Ducati is the real world example to which I can apply my methods of approach.

This is an example of an alternative navigation system to what currently exists on the Ducati web site. The point here is example of an information system that strives to present the illusion of traveling thru space to get to content. It provides a visual and interactive narrative in order to create a unique and compelling user experience.

Anezka Sebek points out “the problem with this thesis has always been the tug of war between my pursuit to make something commercially viable (which utilizes my experience with information design in software production) and the pursuit to make a new kind of interactive, three dimensional, audio and motion video experience on the internet. The idea of a motorcycle site with this kind of aesthetic is right on. The problem is not having the programming experience or the time to fully articulate and execute commercially viable (which utilizes my experience with information design in software production) and the pursuit to make a new kind of interactive, three dimensional, audio and motion video experience on the internet. The idea of a motorcycle site with this kind of aesthetic is right on. The problem is not having the programming experience or the time to fully articulate and execute the second pursuit.”

For the first pursuit: Anezka notes that this thesis project only attains the parameters with which I am already familiar from my industry experience. Let’s, make those commercial goals clear. Let’s take one step back from the project as it stands and look at the project as a systematic study of an e-commerce engine. I see the system built in a way that moves beyond what I used in my experience commercially.

An e-commerce or e-learning engine is a system designed for distributing and accessing content. It is compiled though four separate work groups, project management, instructional design, graphic design and programming. This project demonstrates resolve on each of the fronts. The demands in production and execution are significant.

This engine looks to the information hierarchy of the Ducati web site as a base for compression of content. This system uses the design aesthetic of the Ducati motorcycle as a process of delivery for content. This system uses analysis of Ducati riders as a tool for developing the user experience. It seeks to translate their identity, providing a unique and engaging viewer experience.

The system in itself is an experiment in the design of interface, that looks to the field of experience design as a resource for designing methods of user pathways. The mission of the project is to create the illusion of “traveling thru space” to access content.

Along with the design aesthetic and target community analysis, I have taken the Ducati website as a source of content for the analysis of information design, for purpose of restructuring it so that it can be used in the creation of an experiential site. The number one community attribute is the affinity for the design of the Ducati Motorcycle. The translation of that affinity is created in the main interface. The goal of using the design aesthetic of the bike, to engage users is a major component of this thesis. The translation of that design aesthetic from the physical to the virtual was a driving it can be used in the creation of an experiential site. The number one community attribute is the affinity for the design of the Ducati Motorcycle. The translation of that affinity is created in the main interface. The goal of using the design aesthetic of the bike, to engage users is a major component of this thesis. The translation of that design aesthetic from the physical to the virtual was a driving factor in this thesis, and may be the most successful. Users on the Ducati Monster board were thrilled about this aesthetic. They loved it.

An experiential web site, has to move the user thru space, entice the user to explore, give people rewards for their exploration and respond the user touch. It has to notice if the user is not using the mouse, triggering animation that entice the user to explore. The site also has to make sense in terms of navigation on the whole. This is where the analysis of the Ducati site is important because it forces the parameters of the navigation. There has to be a balance between asking the user to be a learner, and making the learning easy and understandable. There has to be a balance between beauty and form.

The process of selection of topics, reduction to the most crucial components, and developing the hierarchy of access to topics was a major consideration. The isolation of information was based on the discovery of what’s most important based on analysis of the user. Content has to be reduced, choices have to be limited, by the designer, in order to create an environment that a user explores to access content. Users explore an environment as an alternative to flipping through pages. It demonstrates a method of designing for the web where the strategy used in the process of design is the metaphor of a movie.

The quest of this thesis moves from trying to bring a system that is designed through a metaphor of book, to that of a movie. Its is an actualization of thinking about web design from a new perspective, an experiment in what can be gained from that perspective, and in turn an attempt to change the way users perceive things. This style of thinking, “asking how do we design for the web so that it more closely resembles a cinematic experience,” is at its beginning stages, but is being demonstrated in the design of web sites that require innovation. Companies like R/GA, IDEO are at the forefront of this movement. Designers creating web sites “that demand to be unlike the rest,” look to analysis of target user scenarios, in the designing of interaction and the user experience. They evaluate stages, but is being demonstrated in the design of web sites that require innovation. Companies like R/GA, IDEO are at the forefront of this movement. Designers creating web sites “that demand to be unlike the rest,” look to analysis of target user scenarios, in the designing of interaction and the user experience. They evaluate their specific interests, needs, habits and lifestyles in order to invent a new way of looking at presenting content information. Analysis of the target user scenarios becomes the source of innovation found. In subjecting the project to the Ducati public for review, the overwhelming response, in lieu of it’s current navigational issues, was the design aesthetic. The Ducati community not only identified with the graphical interface, but they were excited and inspired by it. (I presented the project on the DucatiMonsterBoard.com, an on-line Ducati community. Over 550 people read the debate. I would estimate over 50 people actually went to the site. Over 30 people, reviewed it and posted their response.

Though the project has much more to accomplish in terms of the clarity of access with the interactive narrative. The actual building out of the concept from the engine to the interface is an accomplishment in terms information design and scale of production. It has far stretched the boundaries of my own programming capabilities, as well as proposes a solution, created front to back from a design perspective. Large companies, with multiple teams of developers, that I have worked for, have spent years developing software engines for content management systems. This project shows a similar solution can be created using an engine created in Flash, through the vision of a unified design perspective.

A key issue with the project was the consistent believability of the interactive narrative through out the project. Barbara asked that I speak about the interactive narrative used in the project, pointing out that this intent was unclear. Katie asked how the secondary level navigation fit the metaphor. Stephanie's issue was that my project does not strongly suggest what I've set out to do, the metaphor, the narrative keeps breaking; the navigational system doesn’t make itself clear to the users. These comments point out that the metaphor of “being in a strange, beautiful world built from the body of the bike, exploring the details, and accessing information” has to be believable all the way through the site. With metaphor, the narrative keeps breaking; the navigational system doesn’t make itself clear to the users. These comments point out that the metaphor of “being in a strange, beautiful world built from the body of the bike, exploring the details, and accessing information” has to be believable all the way through the site. With the obvious breaks in the metaphor in the secondary level, the success of the project is challenged. I consider the metaphor believable from the mainmenu, through the transitions, to the secondary levels. The secondary levels are full of content placeholders, so the narrative is broken, thus my users and reviewers don't know what they are looking at.

Let’s look at the pursuit of the second goal, to make a new kind of interactive, three dimensional, audio and motion video experience on the internet, as a way to evaluate what actually needs to happen with the site to carry out this thesis.

To recap, the main issue with the project is that the intent of the project is not clear to viewers upon entering the site. Though the main interface interaction is relatively easy to understand, as well as the transitions to secondary levels, the interactive narrative structure of the navigation is unclear in the secondary level screens, thus breaking the metaphor and breaking the idea of experience. In order for this project to work the user has to understand where they are, (in the strange, beautiful world of the body of the Ducati motorcycle) and what they are doing (exploring the details to access information) at all times.

In order to accomplish this, further accomplishments need to be made in terms of interactive narrative and programming. The narrative structure used in the second level navigation needs to be reassessed. The metaphor of “a city of blinking lights” that could be incorporated into the metaphor of the body of the bike, would add cohesion to this system. The animation of lights would be unique for each different task. The site asks you to explore at first, and asks you to learn how to navigate. Once you learn something, that same technique is used consistently through out the site, and you shouldn’t have to learn it again. The navigational structure needs to be more intuitive and clear to the user. In the case where the icon of the plane doesn't fit, incorporating flashing arrows, in the opposite direction for triggering movement out, could be used as something simple and something that just about everyone would understand. be more intuitive and clear to the user. In the case where the icon of the plane doesn't fit, incorporating flashing arrows, in the opposite direction for triggering movement out, could be used as something simple and something that just about everyone would understand.

Upon entering a secondary level screen, the viewer needs to be shown what areas and objects are click-able. Further analysis for proposing metaphors for the pathways of interactivity is needed. This can be accomplished by using the same intro highlighting technique that was used on the main menu. When entering the main menu, the roll states for each click-able topic animate across the screen. The technique must be incorporated into all second level topic sections.

Though understanding how to navigate in this system is this projects biggest issue, the navigation is successful in its use of transitions. Graphical, animating, time-based transitions are used to make the user feel that they are moving though the space (the body of the bike).

Creating the illusion of “zooming in” and “zooming out” was a great achievement in terms of visualizing how transitions thru space can be programmed in Flash. This timely endeavor, is in itself is a major accomplishment in the project. This technique makes the user feel as if the site is responding to their touch. This solution needs to be incorporated into every secondary level screen. When the user clicks on the animating access points to get content, the screen has to respond. Second level transitions have to have a clear way in and a clear way out. The user clicks an option, the graphical metaphor changes perspective, the user accesses another option, the system responds with a change of perspective and so on.

Through analysis the user experience I have put together a spec brief for programming. As for the goals of programming moving forward, the project would benefit from an analysis of techniques, from the standpoint of a seasoned veteran of Flash programming. The programming in this project was a major accomplishment for me. My ability to create and visualize dynamic imagery in Photoshop, far out ways my ability to program in Flash. The system currently relies to heavily on the beauty of the graphical interface, where it could more so rely on the great techniques Flash programming offers us. Click-able objects could be programmed to cling to the mouse, mouse-overs need to trigger subtle and Photoshop, far out ways my ability to program in Flash. The system currently relies to heavily on the beauty of the graphical interface, where it could more so rely on the great techniques Flash programming offers us. Click-able objects could be programmed to cling to the mouse, mouse-overs need to trigger subtle and interesting animations that would trigger user interactivity. Navigational elements need to engage and attract the user with as much intrigue as the graphical elements. The metaphor of “traveling thru space” would be used in the further incorporation of unique and interesting flash techniques.

The site needs resolution to its download issues. This issue can be easily addressed through the use of pre-loaders.

The site needs resolution to it’s use of a sitemap. The sitemap idealistically would be used to give users anywhere in the site, from anywhere in the site. This was a major point of concern and discussion with both Karen and Stephanie. And it was an issue that I personally struggled very intensely with. The question being, how do we give that option to users, without breaking the metaphor of “being in the strange, beautiful world of the bike”; “how do we keep the entire being, easy to understand as a whole?” The sitemap option I have incorporated pops users to the main interface, and starts the transitions to the option they have chosen, again breaking the narrative. What should happen here is that the system should be programmed to know where the user is, move out of that section, and move into the next. This user pathway structure can be built with action script, though the tracking system used to support this technology, would require much more additional research and assistance advanced level programmers. 5.1. Conclusion One point that has been my consistent battle, through out the thesis process; visualizing, articulating and refining. We can consider this project as a lesson in clarity. In the aspects where the project fails, let us consider it an act of failing forward, so that we can use the result to learn from the pursuit in developing new methods for interface design. In lieu of it errors, in interactive narrative and programming, the project is a compelling visual experience that evokes excitement and interest in the community it seeks to interpret. Along with the design aesthetic and target community analysis, I have taken the Ducati website as a source of content for the analysis of information design, for purpose of restructuring it so that it can be used in the creation of an experiential site. This is also an achievement in terms of information design. This engine looks to the information hierarchy of the Ducati web site as a base for compression of content, then analyzes what is most important in order to redistribute the information in a form that can be utilized in an narrative design experience. The process and result show intelligent reformat that better service the experiential demands of the project. The information design in this system is successful in its use of time-based, animating transitions and its use of second level Flash based navigational structure.

The number one community attribute is the affinity for the design of the Ducati Motorcycle. The translation of that affinity is created in the main interface. The goal of using the design aesthetic of the bike, to engage users is a major component of this thesis. The translation of that design aesthetic from the physical to the virtual was a driving factor in this thesis, and is the most successful. The Ducati community identifies with the graphical interface with as much intensity as the interface seeks to identify with them. The translation of the design aesthetic is achieved, despite the issues with navigation, which points to its success.

People relate to experiences that they can identify with. This contribution has been achieved via constant and persistent analysis of the Ducati community: the design aesthetic of the Ducati motorcycle, successfully used as a process of delivery for content. motorcycle, successfully used as a process of delivery for content.

The main accomplishment is seen in the methods developed here for designing user pathways, the mission of creating the illusion of “traveling thru space” to access content and that the pursuit of looking to the field of experience design as a resource, was an excellent decision, that produced great results.

5.2. Future Directions As the project is yet to solidify some major concerns, the goal moving forward is to complete the build out of the second level navigation system, increase the ease of use of the system, and finalize the piece in time for the show. This will be a piece that I will continue working on in the future, as my pursuit as an interface designer is to provide new ways design can improve interaction on the web. With the completion of the project, the goal is to use the project as a tool for analysis and development of process, method and user experience.

CHAPTER 6. Bibliography General Research Books IDEO. Extra Spatial. Publisher: Ideo 2003 Book and cards dealing with building interactive environments, this company creates products, and design that are incredibly useful to the content and form of my thesis.

Shedroff, Nathan. Experience Design 1. Publisher: New Riders Publishing 2001 This book explores and explains the concept of design experience, a valuable resource for my interface experiments in experience design. P28

Meadows, Mark Stephen . Pause & Effect, The Art Of Interactive Narrative. Publisher: New Riders Publishing 2003 This book explores and explains the concept of interactive narrative, a valuable resource for understanding user flow and design ideas. P2

Preece, Jennifer. Online Communities: Designing Usability And Supporting Sociability. Publisher: John Wiley & Sons; 1 edition 2000 This book offers an excellent framework for considering how to design for internet communities. Her ideas on community-centered design, emphasizing usability and sociability are a valuable consideration for my project. Jacobson, Robert. Information Design. Publisher: MIT Press; 1 edition 2000 This book analysis’s on information design is critical in developing my project in terms of understanding how content needs to be presented.

Nielsen, Jakob. Homepage Usability: 50 webistes Deconstructed Publisher: New Riders Publishing 2002

Norman, Donald A. The Design of everyday things Publisher: Basic Books 1988, 2002. P13, P151

Johnson, Steven. Interface Culture. Publisher: Basic Books 1997…P18

Clayton, Michael. Cross Country Riding. Publisher: E.P. Dutton NY 1997 Egan, Peter. Leanings; the best of Peter Eagan and Cycle World magazine. Publisher: MBI Publishing Company, 2002

DUCATI BOOKS, see Ducati Specific research below.

MAGAZINES T.W.O [Two Wheels Only) Magazine. July-December 2004. Publisher: Haymarket Publishing T.W.O Magazine is a great resource for Moto Community interests, really well done British Moto Mag. Issues: November 03- January 05

EMERGENT SYSTEM ARTICLES Seaman, Bill. Emergent Constructions: Re-embodied Intelligence Within Recombinant Poetic Networks. . 2003 Seaman asks to what extent can we "re-frame" aspects of the consciousness of the artist, via specific modes of "translation" of operative poetic processes and poetic elements of image, sound, and text, within functional computer-mediated networks? Like Seaman, I am interested in interactive art works that exhibit "intelligent" responsiveness to viewer input.

Seaman, Bill. Hybrid Architectures - Media/Information Environments. . 2002 Seaman suggests that as the use of computers proliferates through and across the entire environment, the nature of the computer/ human interface as well as the metaphors via which it operates, will surely go though a dramatic series of changes. Computers will become increasingly portable and powerful. The need for easy to access mobile connections of data storage will necessitate coherence between various networks for disparate purposes. This article is important because it attempts to articulate Hybrid Architectures.

Manovich, Lev. The Poetics of Augmented Space: Learning from Prada. . 2003 Manovich’s discussion of “augmented space” describes the overlaying layers of data over the physical space. It presents a conversation of the emerging thought trends of virtual space, the moving image in that space and the concept of video installations as laboratory for the future.

WEB SITES Nike.com. September 2004 . Nike: Design by Nature. November 2004 . These sites use the ideologies of a design experience to deliver content in the form of environment. Many of the techniques used here are closely related to the type of experiments I will create.

Soulbath.com. December 2004 . This site uses a 3-D metaphor of a gallery space to host content of digital media projects. The gallery metaphor of levels changes perspective based on user interaction. This is a great example of using 3-dimensionality and interactivity to present content.

VWPhaeton.com. September 2004 . This FLASH example uses an interactive 3-Dimensional metaphor of a galaxy to showcase product.

Immersence.com. Osmose 1995. September 2004 . Osmose is an immersive interactive virtual-realty environment installation with 3D computer graphics and interactive 3D sound, a head-mounted display and real-time motion tracking based on breathing and balance. Osmose is a space for exploring the perceptual interplay between self and world, i.e. a place for facilitating awareness of one's own self as consciousness embodied in enveloping space. This is important to my project as this project truly explores the concept of virtual space.

Creolab.com. September 2004 . This animation example relates to the intentions of my thesis in terms of interactive creativity and design.

Futuralaboratories.com. September 2004 and . This Flash example relates to the intentions of my thesis in terms of interactive creativity and design.

BMWFilms.com. September 2004 This example relates to the intentions of my thesis in terms of narrative and product placement.

Homestarrunner.com. October 2004 . This animation example relates to the intentions of my thesis in terms of interactive space.

Axis-media.com. October 2004 . This animation example relates to the intentions of my thesis in terms of creative design of space.

Dzinemotion.com. August 2004 . This animation example relates to the intentions of my thesis in terms of creative design of space.

Electronicmiracles.com. September 2004 . This Flash example relates to the intentions of my thesis in terms of creative design of space.

Humptyvision.com. August 2004 . This animation example uses a unique representation of content and motion graphics.

Glass Engine. Ed. Phillip Glass. August 2004 . This Flash example uses a progressive, alternative and unique interface design.

Copernica. Ed. NASA. October 2004 . The NASA Art Program has commissioned original artworks chronicling the wonders, risks and triumphs of space exploration. In Copernica, we explore a new universe created from a sampling of this art collection. Zooming into a star leads to artwork.

Analemma: The infamous figure 8. Ed. Perseus Group. October 2004 and . Animation example that uses a concept of zooming in and out to display content.

Trollback.com. October 2004 . Website example that relate to the intentions of my thesis in terms of interactive creativity and design.

MEDIA DESIGNERS PrayStation.com. Pandora’s box 7, 8, 9, and Design Graphik ii c. Ed. Joshua Davis. October 2004 . Davis focuses on experiments dealing with spatial construction. His involvement with the Nike site and his determination to challenge the way we see interface makes him a valuable resource to my project. Davis is a hero.

Nathan.com. Ed. Nathan Shedroff. October 2004 . Nathan’s approach to experience design provides insight and ideas that are crucial to my thesis development. Shedroff has a brilliant perspective on experience design.

Ben Fry Website. Ed. Ben Fry. October 2004 . Fry creates fabulous code generated graphic experiments. They present alternative ways of generating graphics. IDEO: Designers of environments and interactions. Ed. Ideo. October 2004 . This company creates products, and design that are incredibly useful to the content and form of my thesis. DUCATI SPECIFIC RESEARCH BOOKS DUCATI. DUCATI2001. Publisher: Ducati. 2001 This credits in this book are in Italian. This book was not made for public view. It was some kind of gift to the dealers thing, I was not able to isolate it source.

DUCATI/DUCATICORSE. 2002 World Superbike Championship: Publisher: Ducati. 2002 This credits on this book are in Italian.

Cathcart, Alan & Cook, Mark. Ducati 999, The Birth of a Legend. David Bull Publishing, 2003 This book contains important information about Pierre Terblanche, Director of Ducati design and his newest bike, including sketches and processes.

Guilio, Decio & Carugati, Riccardo. Ducati, Design in the Sign of Emotion. MBI Publishing Company, 2003 This book contains important information about Ducati history and motorcycles.

Rafferty, Tod. Ducati. MBI Publishing Company, 2000 This book contains important information about Ducati history and motorcycles.

Falloon, Ian. Ducati:Desmoquattro Superbikes. MBI Publishing Company, 2002 This book contains important information about Ducati history and motorcycles.

Falloon, Ian. Ducati:SuperSport. HaynesPublishing, 1998 This book contains important information about SuperSport history.

Walker, Mick. Ducati: 4-valve and V-twin, the complete story. The Crowood Press Ltd, 1999 This book contains important information about Ducati history of engines and motorcycle.

Bianchi, Lugui & Masetti, Marco. Motoclismo tells the story of Ducati. Published by Motoclismo, Italy 1997.

JOURNALS “Ducati 999: Birth of a legend.” Bullpublishing.com. October 2004 . This article contains an important quote from Ducati Creative Director, David Gross as well as a detailed account. WEB SITES Ducati Monsterboard. October 2004. This site is a great resource for finding Ducati information and connecting with other Ducati Enthusiasts.

US Desmo. October 2004. . Desmo Owner Club for the United States, this is a great resource for finding out about events and community issues.

DUCATI.com. September 2004- present. . Retail marketing website specific to my thesis. This is the actual site I am using for the real world execution of my project.

TRIUMPH.com. October 2004. . Retail marketing website specific to my thesis. This is an example of what the competition is doing.

SUZUKI.com. October 2004. . Retail marketing website specific to my thesis. This is another example of what the competition is doing.

ABOUT.com. November 2004. . Used for direct definitions of parts in glossary

Ducati Index. November 2004. . This is a directory of 59 Ducati clubs, located worldwide.

APPENDIX A PRIMARY SOURCES WORKS CITED (annotated in the following order

(1) Bachelard, Gaston. The Poetics of Space. 1964 Osmose Website 1995. http://www.immersence.com/ (2) Unknown author, Article on Microsoft Bob. http://www.tspa.org/win123-17.html (3) Unknown author, Article on Microsoft Bob. http://toastytech.com/guis/bob.html (4) Neilsen, Norman website, article on Neilsen.http://www.nngroup.com/ (5) Unknown author, article on Neilsen. http://www.webreference.com/new/nielsen.html (6) Nielsen, Jakob. Homepage Usability: 50 webistes Deconstructed Publisher: New Riders Publishing 2002 (7) Unknown author, article on Normand. http://www.jnd.org/ (8) Norman, Donald A. The Design of everyday things Publisher: Basic Books 1988, 2002. P13 (9) Norman, Donald A. The Design of everyday things Publisher: Basic Books 1988, 2002. P151 (10) Johnson, Steven. Interface Culture. Publisher: Basic Books 1997…P18 (11) Unknown author, Brooklyn Museum of art, web article. http://www.brooklynmuseum.org/ exhibitions/2005/basquiat/ (12) Shedroff, Nathan. “Experiences”. Experience Design 1. P4. New Riders Publishing 2001 (13) Shedroff, Nathan. “Experiences”. Experience Design 1. P28. New Riders Publishing 2001 (14) Meadows, Mark Stephen. Pause and Effect, The Art of Interactive Narrative. Publisher New Riders, 2002.P2 (15) Kelly, Tom. The Art of Innovation Publisher: Double Day/Random House, Inc. 2001. Jacket. (16) Kelly, Tom. The Art of Innovation Publisher: Double Day/Random House, Inc. 2001. P20 (17) Unknown author, R/GA website. http://www.rga.com/large.html (18) Kaufman.Gil. Article on Nike for How Magazine: http://www.howdesign.com/dc/features/labexperiment1.asp (19) Kaufman.Gil. Article on Nike for How Magazine: http://www.howdesign.com/dc/features/labexperiment1.asp (20) Ducati.com. Ducati motor holding announces first nine months 2004 results. November 2004. P2.

APPENDIX B DUCATI TARGET USER GROUP

JOHN ROSSI: US DESMO REPRESENTATIVE, Ducati Rider/Racer Rossi is an avid street and track rider whose experience spans more than 30 years. His agility as a rider and mechanical proficiency evolved from the 1970’s Maico and CZ motocross bikes he rode in the rugged Anthracite coal region of Northeastern Pennsylvania. Over the ensuing decades, Rossi’s motorcycling horizons have expanded from distance touring and daily commuting on his BMW twin to more spirited on-track endeavourers astride a Ducati. “Three words summarize my first track day experience. Fear, exhilaration, and addiction. My two favorite pastimes are Downhill Skiing and Motorcycling and there's no substitute and no 12-step program on earth that would prevent me from doing either sport.”

Rossi has made head camera shots of his rides, he was also filming the Pierre event for his article, all would be excellent resources. Rossi and I have been in communication on the event an are currently working on collaborating on his article on Terblanche for the US Desmo Leanings Mag, as well as incorporating design for the USDESMO Web site into sections of my thesis project. [email protected]

PIERRE TERBLANCHE: DIRECTOR OF DESIGN, Ducati Rider. Via Cavalieri Ducati 3 40132 Bologna, Italy Tel: 0039/051/6413388 Fax: 0039/051/6413344 [email protected] Design Aesthetic Guru

GEORGE GIFFIN: GENERAL SALES MANAGER, Lakes Region Audio, Ducati Rider. 9 Gilford East Drive Gilford, NH 03249 Tel (603) 524-4717 EXT25 [email protected]

George is a card carrying Ducati lover since 1967, a track instructor at the Laudon Race track; instructing for over 11 years. He has owned a 1973 750 Sport, a 1999 SuperSport and a 1999 996.

JOSEPH G TORTORA: Principal SUPER MOTO INTERNATIONAL, Ducati Rider. [Dealer] 815 Middle Country Road St James, NY 11780 T: 631.584.4347 Work email: jt@supermoto.com Personal email: supermoto8.aol.com

TORTORA and his team brought up 5 bikes from their NY Show room to the Lars Event from New York. ST James is about 2 hours north west of Brooklyn in Long Island. Bob and Joe did not know each other, but they of course had stuff to talk about.

ROBERT ORTOLANO: Ducati Rider, Track Racer, Technical Consultant, World Traveler ORTOLANO owns a 750, a 990 and 996. Track racer with over 50,000 miles on his tour bike.

AVI BRAND: DEALER, Gold Coast Motorsports/owner, Ducati Rider. [Dealer] Avi owns the Ducati Dealership out in New Hyde park. When I got there he met me and pulled out a Monster 620 dark for me to sit on… I almost died… maybe that’s what they do to all of their customers, but I felt blessed… He said his favorite bike is the triple 9

I love his dealership… the photos I got were amazing, the bikes were so gorgeous. I can’t put it into words, how those bikes make me feel, it’s the design, the form of the mechanical design that reaches out to you like wild horses, just waiting to pull your chariot, just waiting inside the shiny candy body, the blood of the trellis frame. Currently working on getting Avi involved in this project. APPENDIX C DUCATI CHARACTER DOCUMENT Character Profile General Descriptions

Things that are slightly left of 'standard' or 'normal' more interesting.... A motorcycle is much more than just simply transportation, more of 'toy'… Aesthetics, Perceived uniqueness, Physical dimensions, Capabilities.

DESIGN of the Monster hits the spot for me… It uses a bunch of visual cues to attract the eye. It is a design in contrasts really, a trellis frame which is comprised of straight lines and sharp angles coupled with a number arches and curves that seem to surround it… the proportions (visually) are also comfortable to look at… the size, placement of the tank vs. the curves of the seat and the tail section…the headlight, etc.

As for the uniqueness... I've always liked to have things that were not so ubiquitous FUN AND (NOW) UNIQUE 'UN COMMON'

It is sometimes hard to pinpoint exactly what it was that attracted someone to something like a motorcycle, I can't think of a list of attributes against which I compared motorcycles when I was shopping around.. I saw the monster, I liked it, I bought it... sure, it had to meet certain criteria but I made sure they were flexible enough to accommodate what I wanted. Other bikes didn't really have a chance!

Because when I look at other motorcycles, I see amazing machines. Machines made for transportation, for going fast, or for looking cool. But when I look at a monster, I see the soul of all of those machines in one simple form. And I can hear its heart pumping. Can't explain it any better than that.

STYLE - SOPHISTICATION – PERFORMANCE PERFECT STYLE ITALIAN STYLE, ITALIAN EMOTION, ITALIAN SOUND, ITALIAN PASSION, DISTINCTIVE, ORIGINAL, SEXY, FAST.... INTELLIGENCE

Ducati People know their bikes, It is funny because Ducati is the only brand I know of that people ask 'why' of. At our local bike night there are rows and rows of Harleys and Jap bikes. People will walk up and down the rows looking at bikes and never stop by the owner and ask why they bought it. But I always have people ask me either why I bought it or what it is. No other bike gets comments/noticed as much as a Ducati does. Ducati Monster has everything: Style (more like beauty, really), Power curve (torque), Handling, Sound, Speed...

DEAD SEXY I reply, "If you could date a supermodel, wouldn't you?" Sure, our bike have a reputation for requiring more maintenance, but what relationship doesn't? Yeah, I think the monster is the best looking bike on the market

YOU ARE A VICTIM OF "FIRST LUST" SYNDROME. All bikes are built with technical specifications and tolerances as the focus. Yet some, and very few that I have had the pleasure to ride meet the spec AND reflect the care, focus, pride, and yes LOVE that Duc's seem to. Anything a human makes with his(Or Her!) hands is reflected in the object. Ducati's seem to exude the human side of the effort more than the cold numbers. Folks that ride them seem to agree. Ya just can't put a nail on it. But it is known to be there.

YOU KNOW... THE MORE I THINK ABOUT IT, THE MORE I THINK THE REASON I GOT A DUCATI WAS MOSTLY THAT THEY LOOK SO INCREDIBLE.

INDIVIDUALITY: I don't discount the Japanese bikes. They do have a lot of speed and if that's what you want then go for it. BUT..I don't like to be the same as everyone else and all those bikes look the same to me. You throw a Monster into the mix and then you see Italian style and originality. My 620 is not the fastest but I get comments everyday.

Anyone who doesn't own a Ducati will never understand.

Not into follow the same styling trends…No originality. I prefer to be different.

They are different sounding, looking, *cough* higher priced *cough* (but worth it) and a different caliber of people tend to ride them. Its just a d**n good feeling to ride my Monster and see people looking at me, coming up and asking questions about it. Yea i get the why did you get that, but then i say um well its different, i'm different and its not a "me too" bike. Call me crazy but i just feel like im in a special class of riders having it. And I can connect a bit more with those young and um, young at heart

Because it is different!!! Why buy the same bike as everyone else. . That’s why people say with longing "Ohhh, I love Ducati's". A direct quote from an Architect friend of mine. I told her I just bought one and that's what she said…She studied in Italy. Now if I were only single...With her looks and that attitude she would look great on the back of my bike. That made me feel good!!! Besides they handle like your on rails. That's an awesome feeling.

I have a tendency to stray from the herd. Always liked Ducatis, just never figured I'd own one. Fit, styling, handling, sold just like that. Get asked all the time who's Ducati? Where's it made? Then there's the few who say nothing, but eye her up and give you the all knowing nod of approval. We may pay a little more for our eccentricities but it's nice to be different.

SOUL AND CHARACTER To me the ducati "fits." I got on the yammy and it seemed like a machine, cold and no spirit. I get on the S4R we are riding down the street and people stop and look they feel the spirit and soul ooozing out of it. Yammy doesn't even come close.

I was looking around for a bike that was different, wouldn't be so numerous, and had some character

Boil it down and I call it "THE HUMAN SIDE" OF THE BIKE. It appeals to me at a deeper level than the appliances sold by other marques.

PASSION Anyway when the time to get one of my own came, I looked at all the brands around; comparing all the numbers for hp, torque, and $$$. In the end I decided on a Ducati dispite the fact that it was more money for less power. It just didn't matter to me, because I knew there was a reason that the Ducati from years earlier stood out to me over all the other crotch rockets I grew up wanting. I really think that the monster is a different kind of bike. SIMPLICITY IN APPEARANCE AND POWER

SOUND OF THE ENGINE Man, the sound of the bike, 'specially on throttle close-off, the clutch rattle, and the looks just sold me on it after 5 minutes

I define soul as..."That happy feeling I get inside when I here the engine rev."

ENGINE I bought it for the desmo engine. I mean, who else can say they have an engine with NO VALVE SPRINGS! I mean, its a beautiful masterpiece of engineering. Desmodromic... Even the name has a ring to it. Why a monster? Its cheap (compared to a 996), it goes quick, it goes quick quick, it handles, I can ride with the sportbikes and not be out of place, I can ride with the hogs and not be out of place, I hate carburetors, and its different.

95 M900:- Staintunes, vented clutch, 14T primary, DP carbon tacho unit, CC frame sliders, Ventura rack, Dart screen, empty wallet...40,000 kms

But there's just something special about the desmo V Twins that I love. The power delivery, the torque, the sound. YUM. I've had 900ss, 916, and now M900. They're all YUM.

I dunno, maybe it is just me but this "soul" crap and "character" is a little strange. I have been riding nearly 32 years and every bike I have owned had character. Soul what the eff is that, do you mean food? I love the styling of most all bikes, but hey that’s me. Sorry but I guess I am the black sheep. Still love my Duc and my non character soulless other bikes. (I can call it a duc right?) I don't know about you guys, but I bought the bike for the super-sweet iron on patches I got with it!

As a boy, I was one of the "oh my god that is a ducati" people. I would see them on TV or in magazines and think…someday.

Ducati riders: Women love them; Men want to be like them.

APPENDIX D GLOSSARY • Experience Design: Experience Design is the intersection of disciplines, such as: interaction design, information design, visual design, and related methodologies. • Interface Design: the creation of a way for a customer, client, or visitor to interact with a product. Design of the interface is critical to the user's successful, positive experience with the product. Interface design encompasses an analysis of the needs and expectations of the user and the needs and tasks that the product is designed to help the user perform. • Information Design: the art and science of preparing information so that it can be used with efficiency and effectiveness. • Design Aesthetic: the motivating principles of the beauty of a design. • Design Scenario: the script or interactive narrative that is used in developing user experience. • Desmo: Desmo is short for Desmosedici. The Ducati engine’s desmo uses a solution that places the closing rockers between the valves and moving the opening ones to the outside. The engine has an extremely short valve angle. Desmo in general means fast and effective. • US Desmo: Major US Ducati Riders Association • Ducati Corse: Brand name of Ducati Race Team Developers • Swing arm: Older motorcycles and some new motorcycles have rigid frames much like bicycles. Thus, the frame is connected directly to the rear wheel. A swing arm is a movable joint between the frame of the motorcycle and the rear wheel assembly. It supports the rear wheel and associated suspension components. • Torque: Torque is a turning or twisting force applied at a distance from the axis of the object. • Fairing: An enclosure on the front of the bike containing the windshield and affording wind protection to the rider. Can be attached to the frame and not move or be attached to the fork and move as the handlebars are turned. • V-twin: A V-Twin is an engine having two cylinders placed at an angle to each other in the shape of a V.

PRODUCTION SOFTWARE • Adobe Photoshop, ImageReady, Illustrator, AfterEffects • Macromedia Dreamweaver, Flash • Alias Maya • Reason 2.5 APPENDIX F CONTENT DUCATI WIREFRAME DOCUMENT/PAGE MAP: VERSION 4

This document describes each page in terms of exact functionality and content.

Screen Resolution: 1024 x 768 Size: Nec to prevent scroll bars 1003x610

BLUE DENOTES WHAT WILL BE BUILT OUT FOR FINAL PROJECT BUILD-OUT GRAY DENOTES OLDER VERSIONS RED DENOTES QUESTIONS

INTRO FEATURE PAGE CONTENT This was a part of version 3, I decided Splash opener /Intro Screen not to build this out, but felt it was Universal Links: important to keep it. Intro plays one time then launches home page. Skip Intro, closes page, launches homepage.

Current state: EDITORIAL NOTE: I would like the interaction to “flip the This will need to be developed last interface” from front to back like it does This will be the grand finally in REASON, with the bouncing of the environment, developed after all of wires. the other experiments are well into production, if not partially complete. This page will be done at the end. It will be a grand finale opener.

FUNCTIONALITY BODY LINKS Splash opener /Intro Screen ~ A taste of what is to come…DUCATI Scenario showing DUCATI DESMO NEW DESMO NEW featured product or event featured product or event automatically plays. Graphical:

User interaction launches home page User interaction: time-out, also launches home page. Interface Flip.

Built with flash. 0. DUCATI 2005: HOME PAGE/MAIN CONTENT: “Body Landspace” BODY LINKS FOR ACCESS TO ENTIRE MENU SITE

Environment: 1A. USER GUIDE/ TOUR GUIDE FEATURE “Guide” User enters into a beautiful, surreal Icon: Ducati Goddess landscape built out of the forms of the body of the Ducati motorcycle. I will refer 1B. SITE MAP FEATURE (I was going to to this environment as the “ Body incorporate this idea into the user Landspace” guide feature, but it distracted from the task of the user guide. Karen With in this space, the user rolls his mouse suggested I put he sitemap option on around the space, the ideally in the ever page… I think that it should be a motion of a figure 8. Rollover states to the link only from the main menu.) sites 5 sections appear as the user rolls over them. 2. DUCATICORSE/RACER X “Racer” Read left to right, the layout of the Icon: Corse Shield rollover states enforces the order of importance of the topics. UPCOMING RACE EVENTS HOT RACERS PROFILES Access to Sections/ HOT RACE NEWS DEALER A woman on a motorcycle 3. DUCATIDESMO/RIDER X A question: “how do you ride” “Rider” Icon: Desmo Shield A Factory UPCOMING RIDER EVENTS HOT RIDER PROFILES A Palm tree HOT RIDER NEWS DEALER

4. DUCATI BIKE GALLERY Design, Tradition, Dealers “Gallery” Icon: Factory/ DUCATI LOGO

MODEL LINE 1 MODEL LINE 2 MODEL LINE 3 MODEL LINE 4 MODEL LINE 5

DESIGN: Peirre Terblanche DEALER

5. WORLDDUCATI “e-shop” Icon: Palm tree

HOT ITEM 1: LEATHER JACKETS/PANTS HOT ITEM 2: GLASSES HOT ITEM 3: HOT ITEM 4 HOT ITEM 5

6. DEALER Dealer locator Dealer example FUNCTIONALITY BODY LINKS Links ACCESSIBLE only from this This screen is a reorganization of the The Guide is the first on the left, but to main Ducati topics based on the top and smaller… this is offered 1st to SECTION: November2004 publications and home give the user reassurance that their time page design. will not be wasted. 1. USER GUIDE/ TOUR GUIDE FEATURE “Guide” The race and ride options are offered together. Race on the left. 6. SITE MAP FEATURE (I was going to incorporate this idea into the user The gallery option is presented next. guide feature, but it distracted from the task of the user guide. Karen Then finally the shopping option on suggested I put he sitemap option on the far right. ever page… I think that it should be a link only from the main menu.) 1A. USER GUIDE FEATURE TRANSITION: User Guide feature is only accessible from the main menu. Navigation Alternative 1 USER GUIDE FEATURE This will be offered on the mainmenu page if you want a tour through the sites best CONTENT features. Links universal to this page:

On the “ Body Landspace” is an Icon of a User interaction: woman on a Motorcycle, the roll over state states, This gives you the guided tour of the “Come fly with with me” sites 5 best features, “hold my hand” “Take me to the Dark side” style of auto launching pages. “Join me on a tour of the site best features”

FUNCTIONALITY DASHBOARD/BODY LINKS

1. Launch overview, here’s where we are Graphic icon: PINK RACER X going to go… CLICK NEXT TO CONTINUE Profile: mid 30’s super hot track 2. See hottest racer, junkie. 3. Learn about the on-line Monster- community 4. Learn about the triple 9 Text prompts: 5. Learn about Pierre Terblanche 6. Showcase products, this way takes you ~come fly with me… to your local dealer, this way takes you to my favorite products… jacket and googles. “take a tour of the sire with the lovely Goddess Ducati, she takes you to the dark side Monster 620 dark.” 1B. SITE MAP FEATURE TRANSITION: (Only accessible thru Main Menu??)

(I was going to incorporate this idea into the user guide feature, but it distracted from the task of the user guide. Karen CONTENT suggested I put he sitemap option on ever Links universal to this page: page… I think that it should be a link only from the main menu.) This page gives the user a graphical overview of the content in the site.

THIS COULD BE CONSIDERED A HELP “Don’t feel like exploring? Click here SECTION… and go anywhere in the site that you like.” GIVING USERS AN OVER VIEW OF SITE AND DIRECT ACCESS.

THIS COULD USE

FUNCTIONALITY BODY LINKS

Navigation Alternative 2 User interaction: (Only accessible thru Main Menu??) ~sitemap… INTERACTIVE SITEMAP++ Graphic of site architecture. NAVIGATIONAL SYSTEM OF BLOCS This gives you an additional way of Loose squares, use icons? No use interacting with the site. Each grid cluster circles. illustrates a series or section of the site. An alternative playful search, seems like it’s random, then seems like a pattern, then seems like a site map, a small grid of squares that lead to specific areas of the site. Graphical: small grids of squares, located as a design feature outside of the user guide and main menu topics. SECONDARY NAVIGATION SYSTEM: CONTENT BODY LINKS DUCATI DASHBOARD

REAR VIEW LEFT Topic sections accessible from the main REAR VIEW RIGHT menu for RACER, RIDER, GALLERY and MAIN MENU SHOPPING a use a graphic of the motorcycle from the vantage point of a rider looking out over the handle bars as a tool for navigation.

FUNCTIONALITY DASH BOARD LINKS

This system gives the user access to: SUBTOPIC 1 CONTENT TOPIC 1 Back and Next topic sections via clicking CONTENT TOPIC 1 on the rear view mirrors. CONTENT TOPIC 1

Access to the main menu through a push SUBTOPIC 2 button on the dashboard. CONTENT TOPIC 2 [Which then gives user access to the CONTENT TOPIC 2 sitemap, access to user guide.] CONTENT TOPIC 2

Access to main content topic within the SUBTOPIC 3 section through the control panels on the CONTENT TOPIC 3 bike’s dashboard. CONTENT TOPIC 3 CONTENT TOPIC 3 2. DUCATICORSE COMMUNITY TRANSITION ANIMATION RACING/RACER X

CORSE Moving from the “Body Landspace” to TRADITION the “Corse (Racer) Landspace” RACER X

EXPERIENCE SCENARIO: Color, shape, light and motion of environment and Established scenario: “being at the interactivity. race event.”

Color change: From blue to red

Sound of fans cheering, motorcycles racing. Captured from Actual race… “voom, a motorcyle speeds by, voom, voom… super fast and shocking

2. DUCATICORSE COMMUNITY CONTENT: “Corse (Racer) Landspace” RACING/RACER X BODY LINKS

PASSION+DUCATI CORSE REAR VIEW LEFT: MAIN MENU Passion for racing is defined by the design REAR VIEW RIGHT: RIDER for CORSE. LINK TO MAIN MENU

RACE WORLD LINK TO DEALER TRACKS NEWS RACER PROFILES FUNCTIONALITY: DASHBOARD LINKS

ENVIRONMENT METAPHOR: This section uses the Secondary Race track in Vegas navigational system (looking out over Fans in the audience the front of the Motorcycle into the DUCATICORSE/RACER X “landspace” EDITORIAL NOTES: DUCATICORSE INFO The experience is presented in the RACE NEWS 1: CALENDAR animation used to transition between the RACE NEWS 2: MOTOGP TEAM main menu screen and the Racer screen. RACE NEWS 3: SBK TEAM

The main identifying graphic is the HOT RACERS PROFILES DucatiCorse icon. RACER 1: Niel Hodgson RACER 2: Eric Bostrom RACER 3: Troy Baliss RACER 4: James Toseland

HOT RACE NEWS RACE EVENT 1: Daytona200 RACE EVENT 2: BSB - BRANDS HATCH RACE RACE EVENT 3: BSB – TEAM GSE RACING TEST IN VALENCIA HOT RACE INFO AMA CALENDAR RACE NEWS 1: CALENDAR RACE NEWS 2: MOTOGP TEAM 2005 AMA CALENDAR RACE NEWS 3: SBK TEAM

Following the American Superbike Championship series? Ducati.com Racing shows you where and when the races will be.

MARCH 12 Daytona International Raceway (FL) Round 1

APRIL 24 Barber Motorsports Park (AL) Round 2

MAY 1 California Speedway (CA) Round 3

MAY 15 Infineon Raceway (CA) Round 4

MAY 22 Pikes Peak (CO) Round 5

JUNE 5 Road America (WI) Round 6

JULY 10 Laguna Seca (CA) Round 7

JULY 24 Mid-Ohio (OH) Round 8

AUGUST 28: Virginia International Raceway (VA) Round 9

SEPTEMBER 4 Road Atlanta (GA) Round 10

MOTOGP TEAM

CONTINUING THE DREAM 2005 will be Ducati’s third year in MotoGP and a year in which the team will represent the only European motorcycle manufacturer present in MotoGP facing up to the Japanese giants with the enthusiasm and passion that distinguishes the marque. The Desmosedici GP5 will compete in 17 GPs, that make up the 2005 MotoGP World Championship, with a series of innovations that will continue the dream for thousands of Ducatisti around the world.

------2005 LINE-UP Spain’s Carlos Checa joins Loris Capirossi in the Ducati MotoGP Team, bringing with him many years of experience in the top category of the world championship, as well as a burning desire to demonstrate his ability once again. Together with Capirossi, Carlos Checa wants to help the team play a starring role in the 2005 season. SBK TEAM

DUCATI-XEROX SUPERBIKE PARTNERSHIP TAKES ON THE WORLD Ducati Corse enters the eighteenth season of World Superbike championship racing aiming to repeat the extraordinary success of the last two years, which have seen the two factory riders from the Borgo Panigale manufacturer twice finish first and second in the world’s most prestigious production-based racing championship. Add to this Ducati’s pedigree over the last 17 seasons, in which it has won 11 Riders’ and 13 Manufacturers’ titles and more individual races than all the other manufacturers combined, and the importance of the World Superbike Championship to Ducati becomes clear. Ducati Corse CEO Claudio Domenicali explains: click here

------FACING THE OPPOSITION 2004 champion James Toseland and runner-up Regis Laconi team up once again for a second successive year to campaign the ’05 version of the all-conquering Ducati 999 machine, now in a new red and white colour scheme in honour of the new sponsor. Following the return of Ducati’s traditional Japanese rivals and the arrival of several top riders from other series, the championship will now offer much stiffer opposition than in recent years.

Paolo Ciabatti, Ducati Corse Superbike Director: click here HOT RACERS PROFILES RACER 1: Neil Hodgson RACER 1: Neil Hodgson RACER 2: Eric Bostrom Born in Burnley, Lancashire, Neil’s earliest memories were that of RACER 3: Troy Baliss playing in the paddock while his father competed at club races in RACER 4: James Toseland England.

He started riding a TY80 when he was just five years old and had started motocross racing by the time he was nine. He quickly distinguished himself as a rider of exceptional talent, before following in his father's footsteps into road racing. Picking up the British 125cc Championship title in his first full season, Neil moved up to the world stage in 1993 as the youngest rider in the World 125cc Championships.

The following year Neil was hand-picked by HRC to ride one of the coveted factory-kitted RS125 machines in the same class. Neil's potential did not go unnoticed and before the season was out he had sampled the power of a Harris Yamaha in the blue riband 500cc class. A switch to the ROC Yamaha of Team WCM brought him the privateer award in the 500s, with a best finish of seventh at his home Grand Prix.

After three seasons in GP's Neil was asked to move into the Superbike arena by the Ducati Corse factory team. From 1996 onwards Neil doggedly pursued his dream of winning the Superbike World Championship. It wasn't an easy transition for Neil and at times the championship dream seemed to drift further and further away.

He needed to perfect his style if he was to continue riding Superbikes and took the brave decision to return to the British National Championship.

Neil's association with Team GSE Racing would put his career firmly back on schedule. Famous for discovering and maximising new talent, GSE's talented technicians and management led Neil to fourth in the series in 1999.

Building upon his incredible progress with the team in their first year he then went on to a nail-biting victory in the series in 2000 after an epic, season-long battle with Suzuki rider Chris Walker. Earlier in the year he had also taken two "wild-card" victories at the UK round of the World Superbike series. Those two victories were to be warning shots from Neil. He was back. he then went on to a nail-biting victory in the series in 2000 after an epic, season-long battle with Suzuki rider Chris Walker. Earlier in the year he had also taken two "wild-card" victories at the UK round of the World Superbike series. Those two victories were to be warning shots from Neil. He was back.

2001 saw Neil back where he belonged. GSE Racing's decision to move up to the world stage turned out to be the right one and against incredible competition made fifth place in the world rankings. The highlights of his year were a win at Donington Park, a lap record at Misano and numerous pole positions and rostrum finishes.

Another season with GSE in World Superbikes followed in 2002 and despite not claiming any wins, Neil was a front-runner throughout the year, eventually finishing third overall in the standings. These performances were enough to earn him a place in the factory Ducati Fila team in the 2003 World Superbike Championship.

Before the 2003 season started, Neil claimed that he was just going to take each race as it came but after scoring pole position, two wins, and a lap record at the first race of the season in Valencia it was clear to see that he was out to make 2003 the year in which he realised his dream. His stunning career so far had earned him a place in the best Superbike team in the world and aboard their latest creation… the Team Ducati Fila 999.

That first win in Valencia was the first of a record-equalling 9 victories in succession. He went on to score 13 victories in total from 7 pole positions and climbed the podium no less than 20 times. Living 2003 to the absolute maximum, Neil’s wife, Kathryn, gave birth to their first child, Hollie-Jean, just days before he set off for the race in which he was to realise his dream… Assen. His family and close friends, as well as a massive British crowd, made the trip to Holland to see their man become champion and they were not left disappointed. A fight to the line with his team-mate in race 1 was enough to lift the title, and a victory in race 2 underlined it. Neil Hodgson was World Champion.

Neil’s life suddenly became a blur of Ducati store openings, promotional appearances, interviews, TV chat shows and award ceremonies. His perfect partnership with Ducati had allowed him to prove himself both as a champion and a worthy ambassador to his sport, as well for Ducati to prove their 999 to be a worthy successor to its previous world-beating models.

The timing of Neil’s success with Ducati could not have been better. His Superbike World Championship had run in parallel with Ducati’s return to Grand Prix racing and the factory team had stunned the world with the success of the new Desmosedici. In the second year of their MotoGP project, Ducati appointed D’Antin MotoGP Team as an official satellite team and one of their Desmosedicis would be ridden by Neil Hodgson. His British bulldog determination had driven him to his World Superbike dream and was now ready to face a new challenge. MotoGP 2004. RACER 2: Eric Bostrom Eric Bostrom Bio Click Here to Jump To EB's Quick Facts

Click Here to Jump to EB's FAQ's

Eric Bostrom is so popular on the U.S. motorcycle racing scene that he’s already acquired not one, but two nicknames: eBoz and Boss Hog. And if there’s anything that he’s hogging, it’s national titles. Since 1996, Eric has won four U.S. National Championships in four different motorcycle disciplines.

Now, as lead rider for Ducati in the U.S., he’s looking to capture his most prestigious crown yet – AMA Superbike. It’s a brilliant combination: one of the most venerable names in motorcycles with one of the brightest stars in American racing. Eric Bostrom is set to go all the way, and it’s hard to imagine who could upset his plans. Except, of course, for his friend, housemate, training partner, and older brother Ben Bostrom, who is also one of the country’s premier riders.

Photo Courtesy of Ducati and www.DucatiUSA.com Growing up on two wheels Eric was exposed to motorcycle racing from a very early age: approximately, birth (for the record, 1976 in San Francisco). His father had been California dirt track champion, and his older brothers Ben and Torsten had learned to handle a bike before they were old enough for kindergarten. Eric wanted to do everything his brothers did, but riding for fun wasn’t enough. The Bostrom boys loved to compete against each other – whether it was racing their bikes or just eating cereal – and they found that they liked competing against folks outside the family even better.

By the time he was 20, Eric had won his first U.S. title: AMA National Dirt Track Champion in the 883 Sportster class. Then the next year, 1997, he proved that he could win on asphalt as well as on dirt when he captured the AMA Super Twins Championship. He followed that with the Formula Xtreme National Championship in 1998. While 1999 was an uncharacteristically quiet year, Eric roared back in 2000, taking second in the 600cc Supersport Championship and a remarkable fourth in AMA Superbike. He stepped it up even more for 2001, winning the 600cc Supersport outright and improving his Superbike standing to second. He repeated his second-place Superbike finish in 2002.

Photo Courtesy of Ducati and www.DucatiUSA.com Poised for the win AMA Superbike is an 18-event, points-based contest that covers the U.S. between March and September. Racers cope with everything from the heat of the Midwest to the altitude of Colorado, and the schedule is grueling mentally as well as physically. One of Eric’s favorite ways to cross-train is rock climbing: he finds the mental and physical demands very similar to those of racing. Eric and Ben climb as often as possible near their home in Las Vegas, and they even venture abroad for new climbing challenges.

Just because Eric considers his brother to be a training partner doesn’t mean that he takes it easy on him in competition. After all, Ben already owns the 1998 AMA Superbike Championship, and Eric says, “It’s my turn.” That’s no empty boast. Early in the 2003 season Eric was positively dominating. He won the Pikes Peak leg of the series by 5.2 seconds on June 1, and that was nothing compared to what he did seven days later, when he took the Elkhart, Wisconsin, race by a whopping 32.6 seconds in nasty weather. That put him in the overall series lead as he headed to his favorite track, Laguna Seca, in July. But disaster struck when he was a victim in an unavoidable competition pile-up that ensued when another racer lost control of his motorcycle. The resulting impact sent Eric to the emergency room with a host of injuries and caused him to miss the last six races, leaving him seventh in the overall standings. He spent what he did seven days later, when he took the Elkhart, Wisconsin, race by a whopping 32.6 seconds in nasty weather. That put him in the overall series lead as he headed to his favorite track, Laguna Seca, in July. But disaster struck when he was a victim in an unavoidable competition pile-up that ensued when another racer lost control of his motorcycle. The resulting impact sent Eric to the emergency room with a host of injuries and caused him to miss the last six races, leaving him seventh in the overall standings. He spent that time healing his body back to full strength and preparing for his 2004 assault at the AMA Superbike title.

Enter Ducati. Eager to reassert their brand on the North American scene, the company was looking for someone special to bring their World Superbike technology to the U.S. circuit, and Eric’s focus and fire made him the perfect fit. They signed him in November 2003, and Eric quickly began intensive road testing. He hasn’t stopped smiling yet.

And if Eric can take the Superbike National Championship, what then? There are other titles to be won. In the U.S., there’s the new Red Bull AMA Supermoto event, which combines aspects of road racing and motocross. (The first championship was held in 2003, and brother Ben came away with the prize.) And there’s always the international scene: World Superbike and Moto Grand Prix. So many races, so little time. And Eric’s philosophy? “Do it all now!”

Photo Courtesy of Ducati and www.DucatiUSA.com RACER 3: Troy Baliss Troy was born on the 30th March 1969, the only son of Warren and Lorraine and his childhood years were spent on the family farm in Taree, New South Wales, Australia with his sister, Janna.

At the age of six, Troy’s father gave him a “Monkey” bike to ride around the farm and by the age of 10 he had decided it was time to go racing! For the next four years he traveled the circuits with his father racing in motocross and dirt track events.

His love of action sports then led Troy towards surfing and he spent all his spare time on the beach. He met his future wife, Kim, at the age of 18 and his craze for physical fitness made him turn his competitive spirit towards cycle racing.

What kind of cycle racing? All kinds… mountain bikes, speed trials, triathlons. If it had pedals, Troy raced it!

In 1992 the attraction of motorcycle racing was too great for Troy to resist and he returned to motorcycle racing, but this time around he would try his hand at road racing.

His first races were on his ZXR750 street bike but he thought that he had better “get serious” and changed it for a 250 Sports Production bike.

He rode the Kawasaki KR1 in the 250 Sports Production class and was soon winning club events. By the end of the year he entered a few Australian National Sports Production races and won those too. This was fun!

1993 was a busy year for Troy not only because he wanted to move up to a bigger bike but also because he married his girlfriend, Kim.

Having discovered the thrill of racing on circuits, and being eager to start moving up the ladder, Troy raced a Kawasaki 600 and progressed to competing in a few Australian national events by the end of the year. end of the year.

In 1994 Troy rode the same bike to 6th in the Australian National 600 Championship and won the 600 race at Bathurst.

Troy was, by now, proving that he was a force to be reckoned with in Australia and in 1995 he confirmed that reckoning by taking 2nd place in the championship.

By 1996 it was time for Troy to move up another step and, with the backing of Team Kawasaki Australia, entered the Australian Superbike Championship and finished an incredible 3rd.

It was in 1997 that the world would see Troy compete in two great World Championship events and recognise his talent and potential. Not only did he improve upon his 1996 placing by finishing 2nd in the Australian Superbike Championship aboard the Ansett Air Freight Suzuki but, entered as a wildcard, he amazed world class teams by finishing 5th in both races of the Phillip Island World Superbike round.

If anyone needed further proof of his abilities, they surely had it when the Grand Prix event rolled into town at Phillip Island and, once again as a wildcard entry, Suzuki offered Troy a ride on their 250cc machine. Suzuki had struggled all year to have good results in this incredibly competitive class but Troy immediately qualified it 6th on the grid and even battled for the lead before finally finishing 6th in the race.

He thought that the GPs might be his next step but for a phone call from somebody watching that 250 GP race from the other side of the world. If Troy thought that he had made it in 1997, then he certainly hadn’t bargained on the events of the next three years.

Darrell Healey was the Englishman who had been watching the 1997 Phillip Island 250 GP from the other side of the world.

As owner of the Team GSE, he phoned Troy directly after the GP and invited him to move to England to race the GSE Ducati in the British Superbike Championship.

At the beginning of 1998, Troy moved his family to England and finished 8th in what was probably the toughest National Championship in the world: The British Superbike Championship.

Having settled into the incredibly professional GSE team, Troy was ready for action.

Qualifying in six pole positions and five front row positions (excluding poles), he scored six wins and 14 podium finishes in all and won the British Championship by 28 points.

Troy was British Superbike Champion! Because he had won the series on a Ducati, his trophy was presented by none other than the World Champion, King Carl Fogarty. Next stop: the United States of America!

2000 was a typical example of how unpredictable racing can be. Troy had already moved from Australia to England and now, in February of 2000, he moved from England to the US in order to ride a Ducati for the Vance & Hines team in the AMA Superbike Championship. He immediately impressed with his aggressive riding style and set pole position at his first race in the Daytona 200, but crashed out during the race. He then moved on to round 2 at Sears Point and, once again, put the Ducati onto pole position but the race was cancelled because of adverse weather conditions. crashed out during the race. He then moved on to round 2 at Sears Point and, once again, put the Ducati onto pole position but the race was cancelled because of adverse weather conditions.

By this time, Troy was straining at the leash to show how fast he could be. He wouldn’t have to wait long… Back in Phillip Island, Australia - the place where it had all started for Troy three years ago - World Champion Carl Fogarty had crashed during the second leg of the World Superbike event there. He was badly injured. Troy's phone rang again… he was approached by the Ducati factory in Italy to replace the injured “King Carl”. As Troy said, “I get a call from Ducati asking if I was interested in the ride. I didn’t need asking twice!”

Troy crossed the Atlantic again to replace the injured Carl Fogarty and soon astounded the public with a series of spectacular performances. He and the Ducati Infostrada team would only have to wait a few races before he chalked up his first race win at World Championship level.

The win, at the incredibly fast Hockenheim circuit in Germany, was followed by another win in front of a supportive British crowd around the very technical Brands Hatch circuit. Troy was now proving himself convincingly.

Troy’s first ever visit to Assen in Holland left fans in no doubt that he is one of the most spectacular riders in the world. Through awful weather conditions, his battle with the Japanese rider Noriyuki Haga had TV viewers gasping. On a track that was dry on one side of the circuit and wet on the other, the two riders swapped the lead corner after corner until Troy slid off of his Ducati and walked back to the pit garage.

It was a walk that had become a common sight during 2000 but everyone around Troy realised that his ability to push the limits is the trademark of a future World Champion.

Despite missing six races in the 2000 season he had finished 6th in the World Superbike Championship. Troy’s rise to the top has been meteoric but now he faced his biggest step in motorcycle racing: The final step to becoming the Superbike World Champion.

Combining talent, determination and consistency is what is needed to win the World Superbike Championship. And that was exactly what Troy did. The 2001 season was a fresh start for Troy. From the very start, he put himself on the podium and continued to stay there race after race. And it wasn’t long before he started putting himself at the very top of the podium. By the end of the season, Troy had logged an impressive six wins and nine other podium finishes.

Despite his dominant riding, however, the title was not as easy as it looked for Troy. In the first race of the 11th round at Oschersleben, he experienced his only technical problem of the year and had to withdraw from the race. This allowed his nearest rival to climb back up in points and threaten Troy’s championship hopes. This disturbing change of events might have pressurised other riders, but it didn’t bother the Aussie. Instead, Troy put the incident behind him and proceeded to get back on the podium in the second race. This race day highlighted what is best about Troy: His ability to take each race as it comes. No other rider comes close to keeping the focus on the moment the way Troy does.

Troy helped Ducati back to the very top in 2001. He scored their 100th pole position, helped them win their 10th Manufacturers’ Title and won their 9th Riders’ Title. and won their 9th Riders’ Title.

As World Champion, 2002 wouldn’t be any different for Troy. It would be another year made up of individual races. It would be another year in which he was determined to succeed.

The reigning World Champion started 2002 on an incredible note with six 1st place finishes, putting him into the record books with the most consecutive wins at the start of any season.

Even after his streak was brought to a halt at Sugo - probably the toughest track to win at for non-locals - Troy resumed his double- winning form at Monza and then again at Lausitzring and Misano. He tallied an incredible six double-wins, with 14 wins overall in the season. Troy showed his characteristic grit when he crashed at Brands Hatch and damaged his back and ribs. In spite of the severe beating, he got back on his bike and rode through the pain to 3rd and 2nd place finishes. Not even the crash at Assen, which allowed his nearest rival to slip ahead in the standings by one point, would cause the Aussie’s confidence to waver: “Now I’ve got to go out and do it all at Imola.”

Imola will be forever remembered. Racing fans around the world saw one of the most spectacular races in history at this “winner takes all” event. Troy Bayliss and Colin Edwards fought two incredible battles, swapping the lead and sometimes their paint too! In the end there could only be one winner and on that day it was Edwards.

Troy finished the championship second overall, but no one will forget the grace in which he conceded his title: There was still a big smile for all his fans as he stepped up to the podium after this final race of the season. Troy’s tremendous efforts throughout the year had, however, helped Ducati win their 11th Manufacturers’ Title.

2003 was to be a big year for both Troy and Ducati as they moved into MotoGP together. The effort invested in the new Ducati MotoGP Team had been massive and pre-season tests were encouraging. Troy was to have to deal with the pressures of being at the sharp end of a project in which both the press and fans now expected so much. Few doubted that Troy would carry his characteristic “never say die” attitude with him, but apart from it being the first year for the Desmosedici machine, most realised that few riders actually make the transfer from Superbike to Grand Prix successfully. They should not have counted Troy in that number! Few were disappointed when the lights finally turned to green on Troy’s first MotoGP season. It may have been a different championship but it was the same old Troy.

Two front row positions, three podium places and 6th in the World Championship was an incredible start in MotoGP. Just two points in the series stole 5th position away from Troy and the “Rookie of the Year” award but if the world of Grand Prix had never heard of Troy Bayliss before they certainly knew him now. In just the second GP of the year and at a circuit he’d never seen before, Troy took the lead in the South African GP at Welkom from the third row of the grid and held it until one-third distance. He fought tooth and nail with reigning World Champion Valentino Rossi at half race distance and eventually brought the Ducati home in 4th position.

By the next race in Jerez, Troy Bayliss was not only on the podium but also on the lips of every race fan around the world. This 34-year- old family man, who had been given the chance to rocket to fame in World Superbike, was now doing the same in MotoGP seemingly oblivious to the fact that he was now rubbing shoulders with the fastest riders on the planet. To Troy, it was just another bike and just another race and his “just get on with the job” attitude continued to win him fans from all around the world. oblivious to the fact that he was now rubbing shoulders with the fastest riders on the planet. To Troy, it was just another bike and just another race and his “just get on with the job” attitude continued to win him fans from all around the world.

2004 will see him line up with his team-mate Loris Capirossi once again. The difference this year is that the team now have a full year of experience with the Desmosedici and Troy has learned the circuits. Competing at this level will never be easy, but Troy Bayliss is now a contender and the world is ready to watch him fight for his first victory.

RACER 4: James Toseland

PERSONAL STATS Nationality: British Born, October 5, 1980 – Sheffield (UK) Marital Status: Single Height: 1.75 m Weight: 75 kg Hobbies: Playing the piano, training

CAREER STATS

2005: World Superbike Championship (Ducati 999F05) 2004: 1st - World Superbike Championship (Ducati 999F04) 2003: 3rd - World Superbike Championship (Ducati 998F02) 2002: 7th - World Superbike Championship (Ducati 998F01) 2001: 13th - World Superbike Championship (Ducati 998) 2000: 12th - British Superbike Championship (Honda) 1999: 11th - World Supersport Championship (Honda) 1998: 18th - World Supersport Championship (Honda) 1997: 1st - British Honda CB500 Cup 1997: 3rd - British Supersport Championship 1996: 11th - Superteen Championship 1995: 1st - Junior Road Race Championship 1994: Road racing on a 125cc Yamaha 1993: Retired from motocross mid-year to concentrate on road racing 1992: Inter 100cc Youth Series – Best Newcomer 1989-93: Trials

------BIO IN BRIEF James Toseland caused a few eyebrows to be raised in 2004 when he became the youngest-ever winner of the World Superbike championship. Following in the footsteps of Carl ‘The King’ Fogarty and fellow Brit, Neil Hodgson, the 24 year-old from Sheffield put together an extraordinary final part of the season, with two wins and three seconds in the last six races, to lift the title in the final round at Magny-Cours.

Despite his relative youth, Britain’s rising Superbike star has more racing experience than many riders more advanced in age and with his victory in France, became the third rider to step up from the GSE Ducati ‘satellite’ team to the factory Ducati squad, following former WSBK champions Troy Bayliss and 2003 winner Neil Hodgson.

Early competition in trials and motocross brought an impressive haul of trophies and awards before James set his sights on a career in road racing. He quickly worked his way up through the ranks of 125cc racing and into Supersport, winning the CB500 Cup on the way. His first season in British Supersport, at the age of 16, resulted in a third place overall.

In 1998 James was chosen by Castrol Honda to ride the CBR600 in the World Supersport Championship. Never one to turn down a challenge, in the next two seasons James finished 18th and 11th overall before returning to Britain to ride in the 2000 British Superbike Championship. Despite missing almost half the season through injury, James finished 12th overall and was snapped up by GSE Racing for their World Superbike campaign. An impressive thirteenth place in the 2001 championship, including sixth at Brands Hatch, was enough to confirm the rider as a permanent fixture on the WSBK grid. World Supersport Championship. Never one to turn down a challenge, in the next two seasons James finished 18th and 11th overall before returning to Britain to ride in the 2000 British Superbike Championship. Despite missing almost half the season through injury, James finished 12th overall and was snapped up by GSE Racing for their World Superbike campaign. An impressive thirteenth place in the 2001 championship, including sixth at Brands Hatch, was enough to confirm the rider as a permanent fixture on the WSBK grid.

James Toseland has really emerged as a rider over the past two seasons. In just his second year in WSBK in 2002, he became a regular top six finisher and scored his first-ever podium finish at Assen, while in 2003 he ended Hodgson’s winning streak with an impressive win at Oschersleben and then earned his first pole position in the final round at Magny-Cours. After his extraordinary 2004 season, James Toseland is now more determined than ever to hold onto the #1 plate that adorns his Xerox Ducati 999F05.

HOT RACE NEWS Daytona200 RACE EVENT 1: Daytona200 RACE EVENT 2: BSB - BRANDS AMA - DAYTONA - RACE HATCH RACE RACE EVENT 3: BSB – TEAM GSE RACING TEST IN VALENCIA Parts Unlimited Ducati Austin's Neil Hodgson finished a strong second place in the first AMA Superbike race of 2005, making for a fabulous racing debut with Ducati's factory team in America. Hodgson and the powerful Ducati 999 were fast on the fabled high banks of the Speedway, making an impressive statement at one of the most notoriously difficult tracks on the Superbike circuit. Although Neil's teammate Eric Bostrom had a disappointing end to his Daytona weekend, both riders earned valuable championship points.

Neil says he was pleased with a solid race that saw him charge through some of the top AMA riders to earn second position after dropping to fourth briefly. "I've got mixed feelings now inside," said Hodgson. "I'm happy to get it out of the way and got some good points, and then you're sick because you didn't win. It's like that up and down feeling. I had a bad year last year, so it's nice to get back to where you're battling for the lead and actually enjoying your race."

Hodgson turned in impressive and consistent lap times throughout the race and even cut into the eventual winner's gap when the leaders hit lapped traffic. Although he made a strong bid for victory, a win at Daytona was not meant to be. "I was comfortable running that pace. Every time I tried to push harder, I was tucking the front, though," he said.

By virtue of his second place finish, Neil will head into Barber second in Superbike points, an excellent start to the season consisting of 11 events.

Eric Bostrom was 11th in the 15-lap race. "It was very disappointing," said Eric afterward. "We tried a lot of changes this weekend, but couldn't really get faster. I rode hard and the team tried hard and that makes it even worse for me. They put in a great effort. I'm disappointed for them and I'm frustrated." Bostrom ran a lonely race on Saturday, with no real battles for position. "At least the good thing is we have some testing lined up before the next race at Barber," he said.

Team owner Terry Gregoricka was pleased with the podium finish for Hodgson. "Neil did a great job out there. We're really happy with his result but not completely satisfied because we race to win. Still, it was a great start to the season for Neil and will help us to focus over the next weeks. We have even more testing coming up and both riders will have plenty of track time to get even more comfortable on their Ducati 999s." for Hodgson. "Neil did a great job out there. We're really happy with his result but not completely satisfied because we race to win. Still, it was a great start to the season for Neil and will help us to focus over the next weeks. We have even more testing coming up and both riders will have plenty of track time to get even more comfortable on their Ducati 999s."

The next AMA Superbike race will be April 22-24 at Barber Motorsports Park in Birmingham, AL.

Results 1. Mat Mladin (Suzuki) 2. Neil Hodgson (Ducati 999) 3. Ben Spies (Suzuki) 4. Aaron Yates (Suzuki) 5. Jake Zemke (Honda) 6. Miguel DuHamel (Honda) 7. Jason Pridmore (Suzuki) 8. Geoff May (Suzuki) 9. Kurtis Roberts (Honda) 10. Steve Rapp (Suzuki) 11. Eric Bostrom (Ducati 999)

March 28, 2005 BSB - BRANDS HATCH RACE

Airwaves Ducati rider for the weekend, Gregorio Lavilla, secured a double podium finish in the opening round of the British Championship at Brands Hatch, taking second in the championship table at the end of the day aboard the Ducati 999F04. March 16, 2005 BSB – TEAM GSE RACING TEST IN VALENCIA

GSE Racing have today declared themselves 'ecstatic' with their progress following the completion of two days of intense testing at the Ricardo Tormo circuit in Valencia with their Ducati 999F04s. 3. DUCATI DESMO COMMUNITY/RIDER X TRANSITION ANIMATION RIDING/RIDER X Icon: Desmo Shield Moving from the “Body Landspace” to UPCOMING RIDER EVENTS the “DESMO (Rider) Landspace” HOT RIDER PROFILES HOT RIDER NEWS DEALER Established scenario: “being on the road in NYC, 5th Avenue, Brooklyn.” “ON TOUR” TRADITION + Heritage + History “ON TOUR”

EXPERIENCE SCENARIO: Color, shape, light and motion of environment and interactivity.

Color change: From blue to gold

Sound: motorcycle at a stop light, motorcycle speeding into a see of green lights, moving over a hill into the horizon.

3. DUCATI DESMO COMMUNITY/RIDER X CONTENT: “DESMO (Rider) Landspace” RIDING/RIDER X BODY LINKS

ENVIRONMENT METAPHOR: REAR VIEW LEFT: RACER ROAD IN THE CITY, REAR VIEW RIGHT: GALLERY NO CARS LINK TO MAIN MENU LATE AT NIGHT ROWS AND ROWS OF STREET LIGHTS LINK TO DEALER

LIGHT CHANGE FROM RED TO GREEN “CRITICAL MASS”

EDITORIAL NOTES:

The experience is presented in the animation used to transition between the main menu screen and the RIDER screen.

The main identifying graphic is the USDESMO icon. FUNCTIONALITY: DASHBOARD LINKS

Content imagery clings to your mouse like UPCOMING RIDER EVENTS fluffy candy. RIDER EVENT 1: DUCATI 200 RIDER EVENT 2: US DESMO A lone highway, an abandoned barn, a RIDER EVENT 3: group of riders pull over the bikes zoom in to park, each bike is a character with HOT RIDER PROFILES something to say about the ride in the fog RIDER EVENT 1 over the hill a windy two lane road, RIDER EVENT 1 RIDER EVENT 3 specifics about how the bike handles and feels. HOT RIDER NEWS RIDER EVENT 1: MONSTERBOARD RIDER EVENT 1 RIDER EVENT 3

DEALER 4. DUCATI BIKE GALLERY TRANSITION ANIMATION

EXPERIENCE SCENARIO: Color, shape, Moving from the “Body Landspace” to light and motion of environment and the “GALLERY (BIKE) Landspace” interactivity. Established scenario: “being in a Color change: From blue to white lines of virtual gallery of lasers” lasers. “ Explore the interactive gallery” Colors: black, drk gray, red, yellow, racing flag.

Sound: wind

The experience is presented in the animation used to transition between the main menu screen and the GALLERY section.

4. DUCATI BIKE GALLERY CONTENT: “Gallery Landspace” BODY LINKS ENVIRONMENT METAPHOR: REAR VIEW LEFT: RIDER BEING INSIDE THE FACTORY REAR VIEW RIGHT: SHOPPING Virtual Gallery of lasers LINK TO MAIN MENU

Spiro-graph of lines and perspective LINK TO DEALER defines 3D illusion of space for bikes.

EDITORIAL NOTES:

This environment uses white lines in black space to create the illusion of environment. It uses the idea of "balance", movement thru the space.

Five different main categories, topics for discussion: “What people would say about these bikes if they were out riding together”.

The main identifying graphic is the DUCATI LOGO. FUNCTIONALITY DASHBOARD LINKS

MODEL LINE 1: DUCATI MONSTER BIKE 1_1 User interaction with bikes themselves BIKE 1_2 reveals specific information. BIKE 1_3 BIKE 1_4 Specific to the experience of the bike. BIKE 1_5

MODEL LINE 2: DUCATI MULTISTRASDA BIKE 2_1 BIKE 2_2 BIKE 2_3 BIKE 2_4 BIKE 2_5

MODEL LINE 3: DUCATI SPORT TOURING BIKE 3_1 BIKE 3_2 BIKE 3_3 BIKE 3_4 BIKE 3_5

MODEL LINE 4: DUCATI SUPERSPORT BIKE 4_1 BIKE 4_2 BIKE 4_3 BIKE 4_4 BIKE 4_5

MODEL LINE 5: DUCATI SUPERBIKE BIKE 4_1 BIKE 4_2 BIKE 4_3 BIKE 4_4 BIKE 4_5

LINK TO DESIGN SECTION DESIGN: Peirre Terblanche 4A. DESIGN: Peirre Terblanche TRANSITION ANIMATION

This Section is accessible through the DESIGN +Sound + Heritage gallery and uses the same metaphor.

+ wild horses Shift in perspective, within the gallery. + blood of thunder + the embodiment of the Ducati + form + shape + design

SOUND GALLERY IS INCORPORATED INTO THIS SECTION

CONTENT: “Gallery Landspace” BODY LINKS (same as gallery)

REAR VIEW LEFT: RIDER REAR VIEW RIGHT: SHOPPING LINK TO MAIN MENU

LINK TO DEALER FUNCTIONALITY: DASHBOARD LINKS

Clicking on a designated section in the EDITORIAL NOTES: gallery opens up the brings you to the DESIGN +Sound = SOUND GALLERY? design section.

Clicking on an x or close button brings you back to the gallery.

DESIGN TOPIC 1: OVERVIEW DESIGN TOPIC 2: PIERRE DESIGN TOPIC 3: DR. T 5. WORLDDUCATI TRANSITION ANIMATION “e-shop” Icon: Palm tree

EXPERIENCE SCENARIO: Color, shape, light and motion of environment and interactivity.

Color change:

Sound:

5. WORLDDUCATI CONTENT: “SHOPPING Landspace” BODY LINKS ENVIRONMENT METAPHOR: Moving through Naples REAR VIEW LEFT: GALLERY REAR VIEW RIGHT: MAIN MENU LINK TO MAIN MENU

LINK TO DEALER

The main identifying graphic is the SHOPPING icon. FUNCTIONALITY DASHBOARD LINKS

EDITORIAL NOTES: HOT ITEM 1: LEATHER JACKETS/PANTS HOT ITEM 2: GLASSES HOT ITEM 3: HOT ITEM 4 HOT ITEM 5 6. AUTHORIZED DEALERS TRANSITION ANIMATION (DOES ACCESS TO THIS NEED TO BE ON LOCATOR THE Main Menu??) Transition: needs to be a unique technique… like a fade to black, EXPERIENCE SCENARIO: Color, shape, Then load Locator screen, light and motion of environment and interactivity. Then transition again, then load Dealer Feature. Color change:

Sound:

ENVIRONMENT METAPHOR:???

FUNCTIONALITY BODY

EDITORIAL NOTES: AUTHORIZED DEALERS LOCATIONS This is a unique screen it can be accessed from every page excluding the main menu. LIST

FILL IN FORM: COUNTRY STATE ZIP (OPTIONAL) AUTHORIZED DEALER EXAMPLE: FUNCTIONALITY: GOLDCOAST MOTO

THIS PAGE INCLUDES AUTHORIZED DEALER FEATURE EXAMPLE:

GOLD COAST Motorsports 2070 Jericho Turnpike, New Hyde Park, NY 11040

Owner: AVI BRAND “ON TOUR WITH AVI”

MAP QUEST WITH DRIVING DIRECTIONS

DASHBOARD LINKS AUTHORIZED DEALER EXAMPLE

EDITORIAL NOTES: This would explore how a authorized dealer would look, as a feature on the Ducati site. This would be Avi’s personal journey. This idea could offer a bartering tool for His personal dedication to a lifetime of someone like Avi, whose mind I want to possess. Why do I want to possess his mind? Ducati. His shop featured on the Ducati Because he owns that shop, and he’s ridden for site. over 46 years, and his favorite is the triple 9. The image of him, on that triple 9 as his favorite because of the way it feels… the power he has over that machine…I can only imagine. I Feature eat that thought like chocolate, I can’t get New site design for authorized dealers. enough…what it must feel like to be him…I wish Featuring interview with Ducati I could feel that, have that experience and familiarity and resource for experimentation showman. and dedication, a lifetime to ducati.. He had a few select triumphs, very nice, and a few select Suzuki…everything else seemed to be a ducati or an atv. ADDPENDIX F

Response to beta review:

DUCATI MONSTER LIST REVIEW http://www.ducatimonster.org/smf/index.php

Overview of Post:

The first post was made on Sunday at noon. By 6:00 pm, 110 people had viewed the posting, 5 people replied, two with actual feedback.

Feedback was monitored through out the day and evening, in the course of the 24 hour conversation, people got really excited, in many cases, thrilled about the graphics and the idea; then as it progressed, it spawned a great usability debate that finished in the early morning Monday. Over 550 people read the debate. I would estimate over 50 people actually went to the site. Over 30 people, reviewed it and posted their response.

On Monday evening I removed the link to the debate and posted the second email. Thanking them for their time and letting them know there review was appreciated and incorporated in my evaluation documentation and appendix. By Tuesday at 2:00 pm, over 50 people had viewed the “Thank you”.

Talk about generating interest. Talk about an amazing virtual forum and community.

Initial post: (Letter to Ducati Monster List, on-line Community) RE: HOT TOPIC: Ducati People, Ducati Project

Hello Users Ducati, Hot Topic: My DUCATI Thesis failed its’ Friday review, it’s ok. I’ve got this thing, I need your help.

The reason it failed is that the narrative structure of the secondary level navigation system breaks the metaphor of “Being in a strange, beautiful world of the Ducati Motorcyle, exploring the details, to access information."

My advisor asks why a “moving plane as a back button, what do planes have to do with motorcycles."

I am about to turn the secondary level navigation into a “city of lights.”

But, you people, this is for you. The piece is a tribute to the design aesthetic of the Ducati Motorcycle. I ask you: What do you want to see? What can I do for you?

Please go to: http://www.jmax8thesis.com/index_s05.html click on the Title to launch the project. Move your mouse over the screen in a figure 8 Go to the Gallery section; follow the pathway to the Monster.

Click the airplane; go to the goddess section, (a user guide).

This navigational metaphor is where the brake is, what do you wish you were seeing here?

Power to the people, elle Second Post: RE: Project review

Thanks everyone, for your help. I was really able to isolate the issues through this process. “Think Miguel Galluzzi”…“add some babes” I have pretty much have everyone covered, except Fiona. (though I rewrote my abstract) I had to turn in my paper this morning.

I was able to use DML response in the appendix, it worked out really well.

Thank you people; saved this monster… 620… dark. I’ll post a link to the revision in June, if anything just to let you know. best, elle racine

DUCATI MONSTER LIST Response

Re: HOT TOPIC: Ducati People, Ducati Project « Reply #1 on: Today at 11:19:56am » cherub rock too cool for school

------you're f*ckin' crazy

Report to moderator Logged

------Felix Gumbiner Boulder, CO

'94 M900 -- louder than your pappy's Harley

To shed all the illusory rights & hesitations of history demands the economy of some legendary Stone Age--shamans not priests, bards not lords, hunters not police, gatherers of paleolithic laziness, gentle as blood, going naked for a sign or painted as birds, poised on the wave of explicit presence, the clockless nowever.

« Reply #2 on: Today at 11:34:07am »

------Hi Felix,

Thank you so much for looking at the project. Although your remark was blunt, I sense that shedding all the illusory rights & hesitations of history demands the economy of some legendary Stone Age--shamans not priests, bards not lords, hunters not police, gatherers of paleolithic laziness, gentle as blood, going naked for a sign or painted as birds, poised on the wave of explicit presence, the clockless nowever... gives you a perspective that is valuable.

Can you be more explicit?

Much thanks, Elle Racine

NOTE ON CHERUB ROCK: aka Felix: took my pipes off... « on: Today at 08:05:57am »

------...oh my lord, the sound... i took my sil high mounts off at the manifold that connects the two pipes to the exhaust. not at the header, mind you, so i technically have an exhaust "system" that's legal in CO (no emissions for MCs) the sound is unf*ckingbelievable awesome. in netural with the clutch clacking away and the engine sounds like a f*ckin flathead V8...what a beautiful noise. it's hard to ride 'cause there's no backpressure, and i'm wondering to what extent the lack of backpressure could stress the engine? i'm leaving the pipes off for now though. just too much fun. ------Felix Gumbiner Boulder, CO

« Reply #3 on: Today at 11:45:02am » ducati_tim

------It is cool that you experiment with different ways of navigating, but you should have the traditional methods of navigation as well. People usually like to know that what they click will lead them to where they want to go. Have you thought about adding text to your navigation?

« Reply #4 on: Today at 11:51:26am » thoughtpolice

------

Quote from: elle racine on Today at 11:34:07am

Can you be more explicit?>>

He could but then he would have to further plagiarize Hakim Bey.

Re: HOT TOPIC: Ducati People, Ducati Project « Reply #5 on: Today at 12:18:38pm »

------Much thanks, Ducati Tim.

Great point. I can incorporate animating text into the rollover states in the secondary nav, without breaking the metaphor. Like writing on the wall. appreciate it,

Elle

Re: HOT TOPIC: Ducati People, Ducati Project « Reply #8 on: Today at 01:55:21pm » Narflar

------I like it, it's some of the pages seem to make sense but the main page doesn't lead you to what you will be going to next. Also, I can see how the plane doesn't fit. Why not just continue with the flashing arrows but in the opposite direction for back. Something simple and something that just about everyone would understand. If it's hard to navigate, nobody will use the site

« Reply #9 on: Today at 02:47:12pm » ------I actually have a headache trying to navigate through that site. it's pretty, but it's not very functional. The thing about the web is that a good website (to me) is about finding that appropriate balance between beauty and functionality. If I'm looking for actual information, I'd prefer something more on the functional side. If I'm looking at a website for a modern art gallery, then use metaphors all you want. Does that make sense?

-Alt

« Reply #13 on: Today at 03:55:11pm »

------

Your graphics are incredible Elle. Particularly the Monster section. Really outstanding. However, I couldn't find Gallery from your Content page, and your sitemap icon 'Gallery' brought me back to your abstract. Does it work on Safari, or only on Explorer?

Logged

------Aguy239 NYC aguy239 Titanium Member

Online

Posts: 106

Bike Info: M1000S i.e. Mellow Yellow

Re: HOT TOPIC: Ducati People, Ducati Project « Reply #14 on: Today at 03:59:50pm »

------

Check that, Elle. It's working for me now. But I still can't get the Gallery. Your Goddess section is brilliant, with a marvelous soundtrack. And the little runner along the top with the 'back' function is very funny and clever.

Very very cool, all round. But it could be simpler and more intuitive. On the other hand, it's an academic project; you don't have to sell anything... yet.

Congratulations.

Re: HOT TOPIC: Ducati People, Ducati Project « Reply #15 on: Today at 05:15:49pm »

------Aguy239 NYC,

Thanks for your comments on the graphics, a main contribution, nice you noticed.

I will incorporate making the navigation more intuitive and clear.

It sounds like you have accessed the gallery section. Essentially from the main blue bike interface you access 5 topic options. Clicking on the Goddess Icon, leads to the user guide, the racer leads to the Corse section, the rider leads to the USDesmo section, the Building leads to the gallery and the Palm tree leads to what will be the shopping section.

Most of the secondary level access to content is still undeveloped and thus unclear. I apologize for the confusion. Whatever the case, the feedback, at this point is so valuable.

Thanks so much for your response, ~elle

Re: HOT TOPIC: Ducati People, Ducati Project « Reply #16 on: Today at 05:18:30pm » mitt

------sweet site, but what does it do? I spent 2 minutes hunting around, and I am not sure the intent of the site.

« Reply #19 Thanks Mitt,

The intent of the site… the project is an attempt to bring something new to the table in terms of design. The pursuit is to make a new kind of interactive, three dimensional, audio and motion video experience on the internet.

The idea of a motorcycle site with this kind of aesthetic is right on. The problem is not having the programming experience or the time to fully articulate and execute it. The site asks you to explore at first, and asks you to learn how to navigate. Once you learn something, that same technique is used consistently through out the site, and you shouldn’t have to learn it again. Obviously there are issues here. My navigation is the major concern right now.

More simply put, I am trying to develop a new way of accessing information on the web. It’s an attempt to provided Ducati users with a unique and compelling experience of Ducati related topics. appreciate your response~ Elle

« Reply #17 on: Today at 05:33:09pm » omegared81

------i liked it. it was...... like eating too many shrooms.

Logged

------jet kit, open air box, votex clip ons, corban seat, leo vinci cans, 748 front fender, carbon belly pan [long]

"i don't want to go amongst mad people." " you can't help that, we're all mad here."

« Reply #18 on: Today at 05:33:18pm » aguy239

------

I get it Elle. I'm a bit slow!

I know a huge amount of hard and very good work has gone into this. I know that because I taught a graduate class at Parsons a few years ago. The hardest job I've ever had!

Continued good luck with your thesis.

Aguy239 NYC

« Reply #20 on: Today at 06:13:41pm » KnightofNi II

------ok..the plane....i didn't even see it the first few times i was looking around. (that's why the browsers have back buttons....cool concept though, just make it stop moving when you roll over it, and make it bigger so it can be seen... also i had no idea where i was going when clicking on a few of the links. the first 2 made sense after i saw where they lead, but the gallery and i think it was a shop of some sort didn't connect to anything in my feeble mind. and stop using big words. us poor unedumacated, tired, and drunk people dont' want to use a freaking dictionary to read. Logged

------02 750 Dark...Sillmoto pipes, FBF airbox, Filter, PCIII Downed 3 times 1 broken hand One of these days I'll learn it's more fun to keep the rubber on the ground. cookiemonster Sock Puppet Extraordinaire

Offline

Posts: 320

C is for Cookie, is good enough for me!

Bike Info: M620ie, matt black, carbon fibre sil low-mounts

Re: HOT TOPIC: Ducati People, Ducati Project « Reply #21 on: Today at 06:31:16pm » cookiemonster

------Yeah, I do like the little runner on the top, but it is difficult to see at first and without the previous discussion i would not have worked out it is in fact a click-though to the main screen. i am still having trouble navigating the rest of the site, but the gallery section was fantastic. i really like the changeover effects between the different ducati models. please let us know when you further progress on this page, as i would be interested in seeing the more refined product. nice work!

« Reply #22 on: Today at 06:33:08pm » Aguy239 NYC

------

One final thing, Elle.

For Monster lovers, forget Tereblanche. Think Miguel Galluzzi. Though he doesn't design for Ducati any more, we Monster riders have a lot to be thankful for.

What does the plane have to do with going back? Everything.

Logged

------Aguy239 NYC

« Reply #23 on: Today at 06:39:08pm » gnew

------I'm impressed....not sure of how everything works but it is awfully cool.

« Reply #24 on: Today at 06:47:04pm » battlecry

------This seems like the antithesis of a Philip Greenspun website.

« Reply #25 on: Today at 06:52:12pm » howie ------Hi, and welcome to the board.

I imagine you got the idea about navigation, so . The graphics are fantastic. A little tuning and I think you have something great.

« Reply #26 on: Today at 07:07:28pm » DucTape

------Very aesthetically pleasing, but being so far from traditional navigation (i.e. no text for direction until you mouse over it) makes it hard to find something that you're looking for, assuming I was looking for something.

Also, the Monster is what I would consider a 'pure' bike. All functionality. No extraneous parts (plastic fairings, cruise control, blah blah blah... [carbon fiber bits excepted])... so the overly-beautiful yet functionally challenging design of the site somewhat goes against the general philosophy of the Monster. One could certainly make the argument that this doesn't apply as much to Ducati as a whole, being a 'stylized' company, but just my input as the site relates to the Monster.

The only problem I have is that the navigation isn't intuitive, and when I click something, I often don't know where it will take me. This is challenging and great for a 'fun' site, but bad for a corporation.

The graphics ARE beautiful, however. You're definitely on to something. Clean up the navigation and I'd be a regular. Perhaps a thread on your site about babes?

Logged

------So Far: c/f lower cowl, fully-Stratified exhaust, 14t front, DP open airbox and filter, 1/2 tail chop, slotted sprocket cover, HP-adding 'Corse' stickers and black paint. Minus emissions canister, license plate bracket, reflectors, and passenger footpegs. Next: Monstrack mirrors, Spareshack II header pipe, c/f seatcover, Nichols flywheel, other random bling...

"We are motorcycle people; we walk tall and we laugh at whatever's funny. We $hit on the chests of the weird..." -Hunter S. Thompson, 1937-2005. "The Song of the Sausage Creature"

« Reply #28 on: Today at 03:50:19am » FionaDucati

------Hi Elle,

Beautiful graphics no doubt about that. Although, I tend to agree with DucTape. In many ways the Monster is all about minimalism... which I kinda get on your website with the city in the desert thing? On a tech-user note, some of your graphics zipped by so fast on my computer, there was no hope of clicking them. Kind of like those evil ad banners on crack.

One last thing, I work with grad students for a living. I hope you don't talk to your committee members like you post or they might flunk you just to "eschew obfucation."

Keep going, you're probably on something... I mean ONTO something

Fiona

« Reply #29 on: Today at 05:21:00am » de5m0mike

------I like it and think it's cool that you are trying to do something different. One thing I noticed was that when I was on the ducati world shop page, the one with the palm trees, I tried to click on "option one" but it didn't go anywhere so I just went back. It wasn't until my second visit to the site that I realized that I was trying to click inside the "o" which doesn't activates the button. The courser actually has to be on a physical part of the word for it to work.

Also noticed a glitch on the ducati placeholder page for the ducati dealer. When you scroll over the gas tank of the bike you think there is a link to take you somewhere but it seems to be just the enter button from the page before it. It just refreshes the page.

One more thing. I wasn't able to catch two of the bikes on the ducati corse page. I was only able to stop the first one for the AMA calendar.

BTW I use safari.

Re: HOT TOPIC: Ducati People, Ducati Project « Reply #32 on: Today at 06:18:23am » 908SSP

------Nice graphics Awful website, useless

I don't go to a web site for graphic entertainment. I want information and I don't expect or enjoy having to play video game to get it.

Logged

------Alex Ortner 1036CS 908SSP 907IE 966GP DUE

« Reply #33 on: Today at 07:14:25am » MichaelMoore NOTE: Moore is a monsterboard Administrator. Administrators monitor conversations through out the list.

------Hi Elle,

I'll throw my 2 cents in on your site. First off, you have a wonderful design aesthetic going - the site really looks great. Where I have trouble with it is the navigation and the lack of predictability of user action.

Maybe I'm just an old grump, but I have never really liked sites that think they know what I want to see and when I want to see it. It rarely works out the way they expect. Unlike a movie, I don't expect to sit passively by and have a website take me through a bunch of Flash screens or make me follow a certain path to get to information. I think people on the web have specific goals in mind when they go to a site, and the most successful sites let them get to fulfull that goal as quickly as possible, and only after they've completed it, entice them with other things to explore.

I think the feedback you've gotten so far has a lot to do with not having a visible means of navigation, nor any predictability of where you're going to be taken when you click on an object. So the user experience feels random. I'm not sure how you can integrate predictability and user control in the context of a 'cinematic' navigation scheme, but those elements need to be there, OR you need to let people know, "be patient, we're going for a little ride now" and then let them resume control.

Best of luck!

« Reply #34 on: Today at 01:55:52pm » dj

------I'll have to agree with Michael on this. Wonderfully done site, great graphics. But personally I wouldn't spend much time on it. There's no way to know where the links will take me, and once I find something, how do I get back? These days I don't click on something unless I know what's going to happen. Randomly clicking around a site just puts me off, and being forced to learn a new navigation method is even worse. Remember back in good old 1995? Everybody was using animated gifs, with flashig light and sounds. Pop-ups were starting to get popular, etc? I hated those sites. There should always be a 'low-tech' version of the site, so that I have the option to bypass all the 'fluff'. I use the internet as a 'tool' primarly, and a sometime entertainment medium. So, spending a bunch of time taking me through a bunch of stuff, while nice on my first visit, probably won't have me coming back.

I do appreciate how you're trying to find a new way of displaying and allowing for navigation, but you have to be a bit realistic. When I design a site, I expect the average attention span of my visitor to be 15-20 seconds tops. If they're not hooked by then, they'll probably leave the site.

Just my $.02. Good luck on your project!

-dj

« Reply #35 Good point dj - There's a great book called Don't Make Me Think by Steve Krug - it really drives home that most people don't spend much time on anything.