Designing Screens Using Cores and Paths

Written by: Jim Kalbach and Karen Lindemann

Desire path and desire cycle pathImagine you’re on one side of a grass lawn and you want to reach the bus stop on the opposite side. Do you walk on the sidewalk around the edges or cross in the middle? Assuming the grass is dry and it’s not prohibited, you’d probably take the shortest path and walk across the lawn to the bus stop. If others have done so before, you may see a beaten path that you could follow.

Such unplanned paths connect the shortest distance between two points, and we can find them everywhere in our surroundings. In urban planning they are known as “desire paths” or “desire lines.”[1] They are an indication of the gap between natural human behavior and contrived routes.

Architect Christopher Alexander recognizes desire lines in his renowned book, A Pattern Language (1976)[2]. He gives specific instructions for leveraging them in architecture:

To lay out paths, first place goals at natural points of interest. Then connect the goals to one another to form the paths.

Christopher Alexander

In principle, Alexander’s approach is to begin with the goals—the things people ultimately want—and then link them together in the most useful way.

Typically in web design, the opposite approach is the rule: designers begin with the homepage. They then work out a navigation scheme, which pages at the bottom of the site hierarchy automatically inherit whether it’s appropriate or not. The goal—or the primary content people are looking for or tasks they are trying to get done—turns out to be the last thing that gets attention in the design process.

Inspired by “desire lines”, we can reverse this tendency in Web design. Cores and Paths is a technique to guide you through the process of creating straight paths to the core offerings on your site.

The Cores and Paths Model

Instead of beginning with the homepage and overall navigation scheme, start with the core content and work outward from there.

“Start with the goal.” Information architect, Are Halland, makes this recommendation in his presentation “Cores and Paths: Designing for Findability”[3]. He outlines an alternative approach for web design: instead of beginning with the homepage and overall navigation scheme, start with the core content and work outward from there. It’s that straightforward.

The technique is based on three key elements:

1. The Core

The core is the reason users come to site. From the provider’s perspective, the core is what’s offered on the site. Note that the core isn’t always a page. For YouTube, the core is a video and not a page on This makes it possible to have distributable cores, or content that may be found on other websites.

The core may be accompanied by supporting information. Technical details, for instance, can be considered an extension of the core. On sites like flickr a description of a photo as well as the tags user give it are supporting information for the core, which is the photo itself.

2. Inward Paths

How do users get to the core? Sometimes visitors arrive at the core via the main navigation or search of site. But they might also come directly from Google. Other paths are possible as well, such as links from other sites, teasers, entering URLs directly in the browser, and even via rss feeds and newsletters. Thinking about inward paths also considers aspects of SEO, such as what the trigger words do people search with.

3. Outward Paths

Assuming users found what they were looking for, what can they do from there? What are their calls to action? Fundamentally every subsequent interaction should bring some kind of value to the business. This is where conversion takes place. Outward paths can be everything from placing an item in a “shopping cart” to recommending a product to a friend. As with inward paths, there are a variety of options to consider, including links that lead away from the site.

Each of these three elements has a different function. The core is really where value creation for both users and the business takes place. Persuasion plays a big role here: organizations ultimately want users to take some specific action. The inward paths ensure findability. This is how people come to the products and services they are looking for on the web. From a business standpoint, the outward paths are what bring ROI to an organization.

Below is an illustration of the Cores and Paths model, using Amazon as an example (Figure 1). The core is a product, represented here by an image of a book cover and its key details, indicated in the red box. Users find the book in numerous ways, listed on the left. These are the inward paths. Amazon sees a return on investment when users take action on the core, seen on the right as possible outward paths.

The Cores and Paths model for 1: The Cores and Paths model for

The Cores and Paths Process

Imagine the following scenario:

You work for a small agency and have been contracted by a bicycle shop to improve their website. The shop currently only has a “brochure-like” website with address and opening times. They’d like to get into ecommerce and be able to sell online. The product line consists of high-end racing bikes and mountain bikes, along with the appropriate accessories for each. There are about 1000 products in total they want to sell online. The shop’s main target groups are professional cyclists and highly motivated amateurs. As a result, the bikes sold are primarily from premium brands. The design of the website should highlight the high quality of their products.

Following the Cores and Paths approach, here’s how to design the website from the inside out:

STEP 1: Define the core

What is the core offering? First, make a list of possible candidates: bicycles, accessories, services, etc. It initially starts with brainstorming so there are no right or wrong answers. After compiling a complete list, decide on a core and its supporting information. In large teams this means getting agreement from team members and stakeholders alike.

In the above scenario, the core is the product—a bike. A photo of the product is a central element to represent the core. The bike features, brand, and product line are types of information that belong to core in this case. Supporting information includes the price and additional technical details.

After deciding on and prioritizing these details, sketch the core (Figure 2). Don’t sketch the entire page with navigation and a logo: just focus on the core. Customers may want view details of the product up close, so consider how they will interact with the images even at this stage. Think about the experience visitors will have with the core once they find it.

Sketch of the core and supporting informationFigure 2: Sketch of the core and supporting information

Keep in mind that users will also be visiting the site from smartphones and tablets. And they may also post an image to Facebook or Pinterest. This is an example of a “distributable core.” So sketch how the core might transpose to these different contexts (Figure 3). Again, do this without sketching the page chrome or navigation—just focus on the core.

Versions of the core in different possible contexts.Figure 3: Versions of the core in different possible contexts.

From this you’ll see how the core and supporting information behave in different situations. You may have to go back and forth between the versions updating them iteratively.

STEP 2: List all possible inward paths.

What are all the ways that users can reach your core? Obvious things come to mind at first: site search, the main navigation, Google, and links from other websites. But more paths come into play as you brainstorm: links from comparison shopping sites and even references from offline media, such as a printed catalog.

For each inward path in your list, also write down the design requirements that must be met. For instance, SEO and landing page optimization is necessary for visitors coming from Google and other search engines. (See Figure 4)

A list of possible inward paths and the key requirements for eachFigure 4: A list of possible inward paths and the key requirements for each

STEP 3: List all possible outward paths.

Determine the paths away from the core. As in STEP 2, include design requirements for each outward path. This allows you to rank the outward paths in terms of importance to the business, providing clarity for the design in later on. (See Figure 5). Because outward paths ultimately provide value to the business, rank these according to business goals. A clear call to action button brings the user to the checkout process in this example. And if the customer can’t decide right away, a link to a wish list or to recommend the product to others is a second priority.

List of prioritized outward pathsFigure 5: List of prioritized outward paths

Up to this point, we’ve neither looked at the homepage nor have we thought about the navigation. Yet, we’ve addressed important design decisions, such what a mobile version of the core product might look like and how people will interact with the primary content of the site. After making these into higher-fidelity mock-ups, these initial representations could even be tested with users.

STEP 4: Put it all together.

Only after you’ve designed the core and listed the inward and outward paths should you start looking at the homepage and at the navigation. The goal at this point is to bring the user in the simplest, most-direct way possible to the core.

Design the homepage of the site, as well as gallery pages and search results. Sketch several alternatives. While doing this, keep the elements of Cores and Paths in mind: what is the core, how do users get to it, and how will the business see conversion?

Sketch of the homepage – a first draftFigure 6: Sketch of the homepage – a first draft

In this scenario, to get users from the homepage to the core the three product lines of the shop appear in the main navigation: “racing bikes,” “mountain bikes” and “accessories.” Since brand is also important to the target groups, a separate point for “brand” is also included. A prominent link to a shopping cart and checkout process is also located in the header.

Sketch of the gallery page with filters and sorting optionsFigure 7: Sketch of the gallery page with filters and sorting options

Below is a template we used to capture all of the points and steps described in this article (Figure 8). Download the template at the end of this article to try Cores and Paths out yourself!

A template for Cores and PathsFigure 8: A template for Cores and Paths


The Cores and Paths process improves design in several ways:

Identifies gaps. Questioning the purpose of the primary content upfront helps uncover gaps in the initial briefing.

Prioritizes design elements. Breaking down key elements helps prioritize how they appear in the overall design.

Focuses Design. Cores and Paths provides a clear direction to follow for the whole project team.

The difference between Cores and Paths and other approaches may seem subtle at first. But the impact is great: now, the core offering stands firmly in the middle of your design. All other elements in the site design serve the purpose of bringing both users and the business to their goal.


[1] “Desire path”, Wikipedia:

[2] Christopher Alexander, A Pattern Language, 1976 (

[3] Are Halland, “Core and Paths: Designing findability from the inside out”, EuroIA Summit, 2007:

Driving Holism in Cross-channel Projects

Written by: Chris Baum

Show Time: 29 minutes 29 seconds

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Podcast Summary

Today on Boxes and Arrows, Chris Baum talks with Patrick Quattlebaum, Design Director at Adaptive Path. Patrick has some interesting insights and tools that designers can use to develop experiences across channels. Quattlebaum explores the difference between atomism and holism, and how designers often struggle with making parts of an experience that really needs to be thought of as a whole. He also discusses how he navigates relationships in large organizations across teams building different parts of the experience. Finally, he talks about how he brings those teams together using the “rough cut” from film to show the whole context of the experience and find “bridges” between channels that might be missed if the parts are developed separately.


“[As designers,] we did research and strategy, and draw great concept diagrams, and try to sell a vision. Many times it didn’t play out, or would play out, but was missing those crucial elements that really made it what it was. It’s never going to be the way you thought it would be on paper.

More lately, I’ve been thinking about atomism, about how companies break things down, and work separately and how that makes thing harder. It’s not something we need to say, ‘Well, that’s just how companies are,’ and just give up or do the best we can with what we can control with digital or the touchpoint that we own and not worry about the other things.”

“I personally can’t stop worrying about the other things and the big picture what i wanted to do is encourage people to communicate that with everybody that they work with. That’s what everyone is trying to do. It’s easy to get lost in your area of responsibility and what you can control, but that’s not going to get us where we know that customer experience and user experience needs to go.”

“What designers and IAs do is find those connections across the work stream that is going to be the experience in the design. They make sure there’s the right balance or consistency among all the diff’t touch points, without being a slave to total consistency.”


  • Follow Patrick on Twitter “@ptquattlebaum”:
  • Find “his presentation”: from the IA Summit on Slideshare

The Story’s the Thing

Written by: Andrew Hinton

This is an excerpt from “UX Storytellers”: If you enjoy it, consider getting the kindle edition of UX Storytellers – Connecting the Dots with all the stories!

Here’s something I believe in: stories are what make us human. Opposable thumbs? Other animals have those. Ability to use tools? Ditto. Even language is not exclusive to human beings.

From my amateur reading of science, the story behind our stories goes something like this: the human brain evolved with an uncanny knack to recognize and create patterns; and through some strange twist of natural selection, gradually over millions of years, our brains started turning the incredible power of that pattern-making machinery on ourselves, until we became self-aware.

Aware of ourselves—our own faces, bodies, journeys, homes, children, tools, and everything else around us. Over eons, we went from being creatures that lived in each moment as it came and went, to protagonists in our own myths. Everything in our midst became the material for making stories, strands of moments woven into tapestries that we call things like “nation”, “family,” “love” or “discovery.”

And “design.” Because design is, ultimately, a story we make. And designing is an act of weaving a new story into an existing fabric in such a way that it makes it stronger, better, or at least more interesting, and hopefully more delightful.


An Origin Story

My identity as an information architect happened accidentally, and gradually. I just kept doing things I liked, that people were willing to pay me for, until I woke up one day and realized I had a career. And the things I liked doing were invariably surrounded by people’s stories.

One of the earliest jobs I had out of college (after trying my hand at carpet cleaning, waiting tables and telemarketing) was as an office manager in a medical office. It was 1990, and this office of five or six providers was running entirely on a phone, a copier and an electric typewriter. No computer in sight. Every bill, insurance claim, or patient report had to be typed anew … as if the 80s had never happened. I talked the owner into getting a computer and a database management package—a sort of Erector set for database application design that I’d seen at a Mac user group a year before—so I could make the office more efficient.

It would’ve been pretty easy to create a quick application with a minimal user interface, if I were the only one using it. But the owner also had a couple of people helping in the office part-time who needed to use the system too—people who had never even used a computer before. Did I mention this was 1990?

So I had a challenge: how to make it work so that total computer newbies could use it? It was frustrating, fascinating, and probably the single most important experience of my career, because it was a crucible for acknowledging the importance of understanding the user.

To understand the people who were to use the application, I had to talk to them, get a sense of what they’d done before and what sort of forms they had used in the past. What sorts of technology? What terminology was going to make sense for them? How do they tend to learn—by written instruction or hands-on activity, by rote or through improvisation? I learned these things by watching and conversing. Eventually I had enough of a sense of those “users” that I had a full story in my head about how they came to the experience of this particular application, in this particular place.

I wasn’t conscious of this at the time; and I was working completely by intuition. I would’ve done a better job if I’d had the experience, methods and tools I’ve picked up since. But looking back, the experience itself has become a story I tell myself when I need a rudder to remind me of my direction as a designer so that, even when I have nothing else to go on, if I just watch, listen and absorb the stories of the people for whom I’m designing, my design will generally head in the right direction.


An Architecture Story

Much later, about ten years ago, I was working at a web design agency, and our client was an organization that acted as a sort of confederation of research scientists, universities and technology corporations. The organization funneled research money from “investor” companies to the scientists and their students in the universities, and in return the companies received “pre-competitive” research and dibs on some of the brightest graduates.

Their website had evolved like so many in those days—having started from a few linked documents, it had grown by the addition of ad-hoc sections and content created in response to member requests and complaints, until it had become a horribly unwieldy mass of links and text. We had been called in to clean it up and organize it. That sounded straightforward enough. But when we started interviewing its users, we found people who were unhappy with the organization and its community in general—scientists who had become more entrenched in their own sub-disciplines, and divisions between those managing the community and those merely dwelling there. Not to mention the natural enmity between academics and business leaders.

We realized that the web site had become a visible instantiation of that discord: a messy tangle of priorities in tension. A new information architecture would mean more than just making things more “findable.” It meant trying to make a digital place that structurally encouraged mutual understanding. In essence, a more hospitable online home for people with different backgrounds, priorities and personalities. It was a chance to create a system of linked contexts—an information architecture—that could help to heal a professional community, and in turn strengthen the organization founded to support it.

That project provided an insight that has forever shaped how I understand the practice of information architecture: the web isn’t just a collection of linked content, it’s a habitat. And the structures of habitable digital places have to be informed by the stories of their inhabitants.


A Survival Story

Much more recently, I had the opportunity to work with a non-profit organization whose mission was to educate people about breast cancer, as well as provide an online forum for them to share and learn from one another. When interviewing the site’s users, it soon became clear how important these people’s stories were to them. They would tell the tale of their cancer, or the cancer of a loved one, and in each case the story was one of interrupted expectation—a major change of direction in what they assumed to be the storyline of their lives.
I learned that this website was merely one thread in a great swath of fabric that the site would never, ultimately, touch. But the site was most valuable to these people when it supported the other threads, buttressed them, added texture where it was needed, especially when it helped fill in the gaps of their stories: How did I get cancer? What do my test results mean? What treatment should I choose? What can I eat when getting chemo? How do I tell my children?

They wanted information, certainly. Articles full of facts and helpful explanations. And the site did that very well by translating medical research and jargon into information people could use. But even more than the packaged articles of information, so many people wanted—needed—to share their stories with others, and find other stories that mirrored their own. The most valuable learning these people discovered tended to be what they found in the forum conversations, because it wasn’t merely clinical, sterile fact, but knowledge emerging organically from the personal stories, rich in context, written by other people like them.

One woman in particular lived on an island in the Caribbean, and had to fly to the mainland for treatment. There were no support groups around her home, and few friends or family. But she found a community on this website; one that would cheer her on when she was going to be away for tests, console her or help her research alternatives if the news was bad, and celebrate when news was good. She made a couple of very close friends through the site, and carried on relationships with them even after her cancer had been beaten into submission.

Here were stories that had taken hard detours, but had found each other in the wilderness and had become intertwined, strengthening one another on the new, unexpected journey.

This work, more than any other I’d done before, taught me that stories aren’t merely an extra layer we add to binary logic and raw data. In fact, it’s reversed—the stories are the foundations of our lives, and the data, the information, is the artificial abstraction. Information is just the dusty mirror we use to reflect upon ourselves, merely a tool for self-awareness.

It was through listening to the whole stories as they were told by these digital inhabitants that I learned about their needs, behaviors and goals. A survey might have given me hard data I could’ve turned into pie charts and histograms, but it would’ve been out of context, no matter how authoritative in a board room.

And it was in hearing their stories that I recognized, no matter how great my work or the work of our design team might be, we would only be bit players in these people’s lives. Each of them happens to be the protagonist in their own drama, with its own soundtrack, scenery, rising and falling action, rhyme and rhythm. What we made had to fit the contours of their lives, their emotional states, and their conversations with doctors and loved ones.


The Moral of the Story

Design has to be humble and respectful to the presence of the user’s story, because it’s the only one that person has. Stories can’t be broken down into logical parts and reconstituted without losing precious context and background. Even though breaking the story down into parts is often necessary for technological design, the story lives only if we serve as witness to the whole person, with a memory of his or her story as it came from that person’s mouth, in that person’s actions.

Keeping the story alive keeps the whole idea of the person alive. Whether we use “personas” or “scenarios” or task analysis or systems thinking, the ultimate aim should be to listen to, understand and remember the stories, precisely because the stories are the beating heart of why we’re designing anything at all.

So, now, when I’m working on more mundane projects that don’t touch people in quite the same way as some of the others I’ve done, I still try to remember that even for the most everyday task, something I design still has to take into account the experience of the whole person using the product of my work. That, after all, is what we should mean when we say “user experience”—that we seek first to listen to, observe and understand the experience of the people for whom we design. We honor them in what we make, when we honor their stories.

Integrating UX into the Product Backlog

Written by: Jon Innes

Integrating UX into the Product BacklogTeams moving to agile often struggle to integrate agile with best practices in user-centered design (UCD) and user experience (UX) in general. Fortunately, using a UX Integration Matrix helps integrate UX and agile by including UX information and requirements right in the product backlog.

While both agile and UX methods share some best practices—like iteration and defining requirements based on stories about users—agile and UX methods evolved for different purposes, supporting different values. Agile methods were developed without consideration for UX best practices. Early agile pioneers were working on in-house IT projects (custom software) or enterprise software [1, 2].

The economics are different in selling consumer products than when developing software for enterprises—UX matters more for consumer products. Jeff Bezos cares if users know how to click the button that puts money in his pocket more than Larry Ellison cares about any button in Oracle software. Larry makes money even if people can’t use his software. Oracle sells support contracts and professional services to fix things customers don’t like. Amazon and other online businesses can’t operate like that. They have to get the UX right, or they go out of business fast. User experience factors rarely get the same level of consideration when the end-user is not the same person as the paying customer [3].

Agile teams and UX problems

I’ve encountered two problems common among agile teams when helping them improve the user experience of their products or services:

  1. UX work is frequently overlooked during the release and sprint planning efforts.
  2. Teams often fail to measure the UX impact of their iterative efforts.

These two problems become more serious when combined.

When UX work goes undone and the impact is not measured, the team doing the work has no idea what is going on. The feedback loop is broken. Both agile and UX methods emphasize iteration, but productive iteration requires good feedback loops.

You can conduct development iterations (the focus of agile) or design iterations (the focus of UX), but if you fail to measure the impact of the iteration, you won’t see the real benefits of an iterative process. You will have no real idea if your offering is any closer to meeting the needs of the end user. The User Experience Integration Matrix (UXI Matrix) addresses these problems by tying UX to the project backlog.

Integrating UX into the product backlog

You can conduct development iterations (the focus of agile) or design iterations (the focus of UX), but if you fail to measure the impact of the iteration, you won’t see the real benefits of an iterative process. You will have no real idea if your offering is any closer to meeting the needs of the end user.

Scrum (one of the most popular variants of agile) advocates you create a Product Backlog, a collection of stories that describe user needs. The team iteratively refines the requirements, from rough (and often ill defined) to more specific. This is achieved using stories from a user’s perspective, which have conditions of satisfaction associated with them. This concept is adapted from UCD’s scenario based design methods. In my view, this is far better than other traditional approaches to documenting requirements that are often detached from user’s goals.

Various agile gurus [4, 5] discuss how to break down requirements from high-level stories to user needs targeted at specific users. Even if your team follows Jeff Patton’s story mapping method [6], (which I highly recommend) to create structured hierarchical representations, you’ll often find you want to analyze the stories by different factors as you groom your backlog.

I’ve worked with teams who want to analyze stories the following ways:

  1. Order of dependency or workflow (self-service password reset depends on user registration)
  2. Criticality (which of these stories must be done so customers pay us next month)
  3. How much work will they take to complete (show me all the epics)
  4. What related stories do I have (find requirements with related UI patterns)
  5. By role or persona (show me all the stories that impact persona X)
  6. What stories have a high impact on the UX, so we can focus on those?

If the project is small (both in number of team members and number of stories) you might be able to get away with rearranging story cards on the wall. However, in my experience, things inevitably get more complex. You often want to consider multiple factors when reviewing the backlog. A UXI Matrix helps you track and view these multiple factors.

Creating a UX Integration Matrix

The UXI Matrix is a simple, flexible, tool that extends the concept of the product backlog to include UX factors normally not tracked by agile teams. To create a UX Integration Matrix, you add several UX-related data points to your user stories:

Column Name Possible Values Description
Persona Persona’s name Identifies the persona a user story applies to
UX complexity 1 to 5 (or Fibonacci numbers if you’re into that sort of thing) Estimates design effort separate from implementation effort
Story verified Y/N Is this story fiction or fact? Is it based on user research or customer input?
Design complete Y/N Is the design coherent enough for development to be able to code it (or estimate how long it would take to code)?
Task completion rates 0 to 100% The percentage of users who have been observed to complete the story without any assistance.
Staffing Resource’s name Who’s owns the design, at whatever level of fidelity is agreed to.

With these columns added, your product backlog begins to look something like the spreadsheet in figure 1.

Figure 1: UX Integration Matrix, a simplified example

Figure 1: UX Integration Matrix, a simplified example

Advantages to using the UXI Matrix

The UXI Matrix helps teams integrate UX best practices and user-centered design by inserting UX at every level of the agile process.

Groom the backlog

During release and sprint planning you can sort, group, and filter user stories in Excel:

  • Group by themes or epics, or anything you want to add via new columns
  • A primary persona, a set of personas, or number of personas associated (more = higher)
  • Stories you’ve verified via user research or ones you need to verify
  • Stories you’ve completed but need to refine based on metrics
  • Export stories into a format that can be used in information architecture work
  • Explore related UX deliverables like personas, mockups, and research findings via hyperlinks to them

Note the summary rows near the bottom of the example in Figure 1. Those values can help you prioritize new and existing stories based on various UX factors.

Reduce design overhead

Perhaps my experience is unusual, but even when I’ve worked on teams as small as seven people, we still had trouble identifying redundant user stories or personas. My heuristic is that if a story shares several personas with another story in a multi-user system, then that story may be a duplicate. Grouping by themes can also help here.

Another useful heuristic is that if a persona shares a large list of user stories with another persona, it’s likely the personas should be merged. Most of the time personas that do the exact same things with a product can use the same design, unless of course they have very different skills or something, which becomes evident when reviewing the personas or conducting user research (which all good personas are based on in my view).

Facilitate collaboration

The UX Integration Matrix helps teams integrate UX best practices and user-centered design by inserting UX at every level of the agile process.

Another major benefit of the UXI Matrix format is you can share it with remote team members.

Listing assigned staff provides visibility into who’s doing what (see the columns under the heading Staffing). Team members can figure out who’s working on related stories and check on what’s complete, especially if you create a hyperlink to the design or research materials right there in the matrix.

For example, if there’s a Y in the Design Complete column, you can click the hyperlink on Y to review the design mockup. I’ve worked with teams who like to track review states here: work in progress (WIP), draft (D), reviewed ( R ), etc. (instead of just Y or N).

Track user involvement and other UX metrics

The UX Integration Matrix also helps track and share key UX metrics. One key metric to track is team contact with real end users. For example, if you’ve talked to real users to validate a persona, how many did you speak with? Another good metric is, how many users have been involved in testing the design (via usability tests, A/B tests, or otherwise)?

You can also capture objective, quantitative UX metrics like task completion rates, click/conversion rates, and satisfaction rates by persona. It makes it easier to convince the team to revisit previous designs when metrics show users cannot use a proposed design, or are unsatisfied with the current product or service. It can also be useful to track satisfaction by user story (or story specific stats from multivariate testing) in a column right next to the story.

Review UX metrics during sprint retrospectives

Scrum-style reviews and retrospectives are critical to improving both the design and team performance. However, few teams consider UX metrics as part of the retrospective. During these meetings, it’s helpful to have UX metrics next to the stories you are reviewing with the team.

I ask the team to answer these UX-related questions during the retrospective:

  1. Did we meet our UX goals for the sprint?
    1. Does our user research show that what we built is useful and usable?
    2. Are users satisfied with the new functionality (new stories)?
    3. Are users likely to promote our product or service (overall) to others?
    4. Do we have product usage metrics (via site analytics) that meet our expectations?
  2. Is there existing functionality (stories) that need to be refined before we add new stuff?
  3. What user research should we do to prioritize stories going forward?
  4. Do we have enough staff with UX skills to meet our objectives?
  5. Going forward should we:
    1. Work a sprint ahead to ensure we validate UX assumptions?
    2. Do a spike to refine a critical part of the UX?
    3. Refocus UX work on select user stories or personas?
    4. Improve our feedback mechanisms to capture factors we are missing today?

Annotated example

Figure 2: The UX Integration Matrix inserts key user experience activities and context adjacent to user stories into the product backlog.

Improving your team’s design decisions

Once you start tracking in the UX Integration Matrix it becomes easier to have informed discussions during reviews and retrospectives. I use the UXI Matrix to set UX goals with the team, help prioritize stories in the backlog, track UX work in progress, and to help answer the classic agile problem “what does done mean”; not just for the entire product or service, but for individual stories.

I’d be curious to hear from others who would like to share their experiences with variations of the above or similar methods. On the other hand, if you’re an agile guy that thinks this all is very non-agile, I’ll ask “can you really prove your method creates a better UX without this stuff?”

Start using the UXI Matrix in your next sprint. Download and customize this Excel template to get started:

[1] Larman, Craig. Agile and Iterative Development: A Manager’s Guide. Pearson Education, 2004.

[2] Sutherland, Jeff. “Agile Development: Lessons learned from the first scrum”. Cutter Agile Project Management Advisory Service, Executive Update, Vol. 5, No. 20, 2004:

[3] Cagan, Martin. Inspired: How To Create Products Customers Love. SVPG Press, 2010.

[4] Cohn, Mike. User Stories Applied: For Agile Software Development. Addison-Wesley Professional, 2004.

[5] Cockburn, Alistair. Agile Software Development. Addison-Wesley Professional, 2001.

[6] Patton, Jeff; “It’s All In How You Slice It”, Better Software, January 2005:

Case study of agile and UCD working together

Written by: James Kelway

Large scale websites require groups of specialists to design and develop a product that will be a commercial success. To develop a completely new site requires several teams to collaborate and this can be difficult. Particularly as different teams may be working with different methods.

This case study shows how the ComputerWeekly user experience team integrated with an agile development group. It’s important to note the methods we used do not guarantee getting the job done. People make or break any project. Finding and retaining good people is the most important ingredient for success.

The brief

In 2008, we were tasked with resurrecting a tired, old, and ineffective site. It was badly out of date, and the information architecture was decrepit to both users and search engines.

The old

Our goals were:

  1. Make content visible and easy to find
  2. Create an enjoyable and valuable user experience so users would return
  3. Increase page impressions to bring in ad revenue
  4. Allow site staff to present more rich media content
  5. Give the site more personality and interactivity

The UX team created personas from ethnographic studies, online surveys, and in-depth interviews with users. The data gave us a clear idea of the user’s needs and wants. We also gleaned data from analytics that told us where users engaged and where the bounce rates were highest.

At this point the development team maintained the site with an agile process. They created features for the new site in parallel to ongoing site maintenance, but this work was outside the normal maintenance sprints. The new site was considered as an entirely new project with a separate budget and scheduled into longer term.

Boundary Spanner

As the User Experience team gathered data key team members were recruited. The diagram below shows the key team members needed to produce this large scale site, their specific concerns, and their methodologies.

Boundary Spanner

To bring these teams and disparate elements together requires a launch manager or ‘boundary spanner’. Rizal Sebastian wrote about boundary spanners in Design Issues in 20051. The boundary spanner needs to be aware of the individual issues the project faces. He need not know the detail but needs to know the cultural context of the collaborative environment.

Do people get on with each other? Are communication lines clear? Are there any personality clashes on the team. To throw developers, interface designers, business analysts, SEO experts, and usability guys together and expect them all to gel is optimistic but unlikely. It also requires those people devote all their time to just one project and that is unrealistic for a large operation where several projects are underway simultaneously.

They are more than a project manager because the user— and not the project—is at the heart of their concerns. He is responsible for delivering and continually developing a quality product. He is not just monitoring the features on a checklist. The user is at the center of all decisions on the design and development of the site. This is the only way you can ensure the user will be heard throughout product development – to employ somebody who listens to user voices and never forgets what they said. They must also ensure that SEO and business requirements are satisfied, and a well-defined strategy is in place. The boundary spanner owns and clearly communicates the vision until the whole team understands.

The boundary spanner’s strength is that they are core to the product and not a department or team known for their skillset (like a UX team for example). In many cases it is a product manager, but in this case it was the website editor who was responsible for synchronizing the teams.

Defining a process

To assist this user focused approach, the IAs produced set of deliverables that ensured the launch manager’s vision could be realized and developed.

Defining a process

Diagramming the process using a concept model engaged key stakeholders with the project by communicating the vision of what the UX team would achieve with the speed and clarity of an elevator pitch.

Information gathering

A content audit revealed broken links, redundant content, and poor usability plagued the site. It also revealed how much content became lost the second it moved from the home page. The high value research papers were impossible to find.

30 interviews, 20 ethnographic studies, and 950 responses to an online survey. created six personas. With the content audit, personas, and business objectives (what we wanted them to do on our site), we began creating the taxonomy.


During this project we were very fortunate to work alongside the web analytics manager who provided insight into user behavior, including high bounce rates from visitors arriving from search engines. He also provided a scorecard that showed where the site failed in terms of traffic and user engagement. We knew what users were searching for, and pretty quickly could tell why they were not finding content we knew we had.

Analytics screen showing overlay on the new website

By looking at web metrics we were understood usage patterns and popular and unpopular areas of the site. The depth of information enabled us to quickly formulate a plan.

Persona driven taxonomy

As we knew our user base were industry experts, we also knew their vocabulary was related to specific areas of their markets.

The taxonomy was created by gathering as many industry sources (websites, journals, white papers), breaking these down into unique elements, and clustering these elements together to form categories for our content.

The interface used to manage the CW taxonomy

The CW taxonomy formed the basis of the navigation, content categorization, and highlighted areas for future development. It also ensured our search results served up related content in context.

Search results displayed contextual related content

We defined four main areas by looking at the community of users.

ComputerWeekly Concept

News was an obvious requirement, defined by their particular area of interest within the sector. The need for knowledge was evident, and we created an in-depth research area where case studies and white papers could be easily accessed. Tools and services, RSS, email news alerts, and newsletters reflected user needs to be kept up to date and in tune with their specialization.

Finally, although the CW community was secretive and did not divulge information amongst their peers, they were very interested in expert opinions. This need gave rise to much more integrated blog postings.

Interface development

The navigation scheme defined the elements of the page the users would use to move to other areas in the site. It clarified the naming of those items on the page.


We then considered the prioritization of information and content for each page, and this facilitated the production of wireframes that represented the culmination of all research, showed the interface and interactions for elements on the page, and were a working document that changed as we iterated the design.

Core and Paths

We used Are Halland’s method for ‘designing findability inside out.’2

  • Prioritize and design the core – Satisfy user goals using prioritized content and functionality.
  • Design inward paths to the core – Consider how users will arrive at the page from search engine results, facets, menus, search, RSS, aggregation, email, etc.
  • Offer relevant outward paths from the core – Ensure that the site delivers both user and business goals through clear calls to action and completion of interaction tasks.

For, we focused on the cores for the home page, a channel level homepage, and a news article page and looked at key content such as lead news story and the editor’s picks or the best from the web aggregated from external sources. The key functionality and supporting content also had to be included and prioritized on the page.

Next we considered the inward paths, which are the channels that our users are likely to utilize to arrive at the page.

Inward paths

Inward paths included search engines, blogs, bookmarks, syndication, aggregators, RSS, and email subscriptions. Considering inward paths helped us focus on the marketing channels we needed to drive users to the relevant type of page. It also focused on the keywords and themes that users are likely to use and helped us optimize pages for search and online marketing campaigns.

Finally we designed the outward paths that helped users complete online tasks for our business objectives.

Outward paths

These outward paths include:

  • Newsletter sign-up
  • Inline links to related articles to drive page consumption
  • Sharing, printing or emailing of news articles
  • Related content types such as video or audio
  • Stimulating community participation in forums or blogs
  • Contextual navigation to aggregated content or the editors best bets
  • Subscription to an RSS feed
  • Prioritizing the content

Prioritizing the Content

Once the wireframes had been approved, the content was organized so the most commercially valuable and user focused content was pushed to the top of the page. As the design went through user testing, certain elements changed, as with any iterative process, but through team collaboration, the solution remained true to the initial vision from concept to design delivery.

The development cycle

The wireframes were handed over to creative, and they began designing the interface and graphic elements. The development group released some functional elements to the old website before the relaunch.


These agile methods allowed the old site to feel the benefits of the new widgets. However, as the site changed so radically in the new design, we still had to release the site in an old style ‘big-bang’ manner. This is perhaps where agile has its problems as a methodology for new launches. It’s focus on many small releases is a great tool to implement incremental changes but not for a completely new site.

As the html flat pages were passed to the team, the SEO requirements were defined and built into the site. By the time the site launched it, had been through four major pieces of testing.

Development Timeline

A holistic solution

Providing user experience deliverables like the concept map and wireframes ensured more comprehensive requirements were delivered to the design and development team. This approach addressed marketing, editorial, sales, and business requirements next to the needs and wants of the user. The vision was aligned with an achievable delivery from the IT team that ensured we delivered the site we wanted to give the user.

The new

The core IA work enabled the new site to be future-focused and versatile. The structure and design of good sites should be able to adapt to change.

User-centered design and agile can work alongside each other but what is more important is having people who can tie all the loose strands of a website design and development cycle together. The concept map, wireframes and the IA strategy document that listed the rationale behind the design decisions helped ensure the product vision was correctly communicated to the development team, so the product that was developed through their agile processes was in line with the overall product vision.

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