Fall 2017 Sabbatical Presented to VCCCD
DESIGN AND SOCIETY
Svetlana Kasalovic 01_Sustainable City, Design and Society team project lead by students Alon Winberg and Rheanna Dunn, Spring 2017. DESIGN AND SOCIETY Table of Contents
04_Introduction
RESEARCH
06_Impact: Strategies for Creative Intervention 12_Design Thinking 19_AIGA Designer 2025
DESIGN AND SOCIETY 2018
22_Design and Society 2018. 23_Module 01: Why Design? 24_Module 02: Should Design be Beautiful? 25_Module 03: Meaning in Design 26_Module 04: Simplicity and Complexity in Design 27_Module 05: Should Design Make us Feel Good? 28_Module 06: Design Thinking 29_Module 07: What is Branding? 30_Module 08: What is in a Logo? 31_Module 09: The Power of Typography 32_Module 10: Vision and Voice 33_Module 11: Bridging Physical and Digital Experiences 34_Module 12: Design Is Not an Art Form 35_Module 13: Advertising's Past, Present, and Future 36_Module 14: Design and Science 37_Module 15: Design for the Next Economy 38_Resources DESIGN AND SOCIETY industrial and agricultural water use. My Impact project “Gray Matters.” was Philosophy major Daniel Seyler argued directly Inspired by an event that took the need for an open dialogue: Introduction Mirracle Barrels: Be Prepared 2. Rhythmic Dynamics is a percus- place during my Spring 2017 Design 1. To say that you don’t need to listen Presented by: Angelica Angeles, Loren Judkowitz, Jenny sion-based music program for people Kaidin, Kaitlyn Manners, Seamus Mclean, Tyler Shapland and Society class. Screening of "The who are timid about music and want to to someone else because you know Miracle Barrels is a water conservation program o ering rain Story of Sta " documentary preceded start learning in a hands-on environ- them to be wrong is to assume and to In Spring 2006, in response to the AIGA barrels to collect water to Moorpark students and faculty to Impact: Strategies for Creative Inter- save water, and set up rain barrels with statistics and the class discussion about design as an assert your infallibility. It is to say that information about water usage. Unlike competing ment run by students. Designer 2015 proposal for the new Monday vention program at the School of interventions that focus on residential and municipal water agent of change. This documentary there is nothing that anyone else could competencies in design education, I December 7th, 2015 use, which only accounts for 20% of CA water use, Miracle Since the design is a cultural practice Visual Arts (SVA) in New York assists in Barrels will focus on industry and agricultural water use. provoked a group of students to show have been thought of that you have Unlike competing interventions that focus on residential and deeply embedded in the fabric of built the interactive portal Design and 2:30pm - 4:00pm municipal water use, which only accounts for 20% of CA building the strategic foundation for a Lou Dobbs‘s rebuttal of "The Story of water use, Miracle Barrels will focus on industry and not, and no one can a ord to be this Society (http://redsparrow.org/de- Outside COM Building agricultural water use. society, design education is in the socially minded, design-driven projects Stu ." Each one of the antagonistic arrogant. sign-and-society/). IGETC college levels perpetual beta state. In order for and an understanding of the steps groups was ready to dismiss their 2. To allow false beliefs to exist course Design and Society was Design and Society course to re ect needed to make it a reality. Many opponents, thus labeling them in a unchecked and unchallenged is to launched in Fall 2006, and it soon the current social, economic, political design, communication, and architec- way that makes it easy to dismiss their allow for the possibility that they grow became a part of Art, Journalism, and technological climate in which ture professionals have turned their agenda (liberal, reactionary), not take and become the mainstream. Things Graphic Design, Multimedia and Game design is being made and used, my e orts to self-generated, non-cli- them seriously and to miss the point. can get worse. We can’t just use num- Design curriculum at Moorpark sabbatical research will focus on the ent-based projects, geared toward If they fail to understand what their bers to suppress ideas that we don’t College. Design and Society course is following venues and trends: positive community impact. The opponents are doing, they can’t know like. That will not make them go away. based on fteen modules that address program focuses on three critical areas 1. Impact: Strategies for Creative the reasons why they are doing it, and We have to challenge the ideas core questions about the role of design of this approach: Intervention program at the School of they can’t challenge them in any because ideas cause actions. We in society. Through the real-world Visual Arts (SVA) in New York. 1. Ecosystem mapping signi cant way. All they can do is try to cannot allow the monopoly on rational projects and collaboration with Moor- 2. Getting Started with Design Think- Use a variety of mapping tools to stop their opponents' activities. All thought. park College academic departments, ing program at d.school at Stanford explore the elements of a system to they can see is what their opponents “Gray Matters.” project brings students students’ clubs and services, and the University. Both programs provide the gain an understanding of where and do. They don’t understand why they with opposing views together to local community, students explore concepts, framework, and tools on how how to intervene for positive change. can’t challenge them. Their opponents expand their thinking beyond assump- how designers nd their vision and to incorporate design thinking into the 2. Creative sessions have integrity and courage to follow tions. It guides students to be a part of voice, and how they inspire and AC Participation in the creative sessions through with their beliefs, no matter the construction, development, and IR L college curriculum. achieve change by design: E M helps develop best practices in form- B what anyone else says. direction of their creative interaction. A S 3. AIGA Designer 2025 assessment of 1. Miracle Barrels is a water conserva- R R E L ing well-articulated critical questions Students who came to some conclu- the changing context for practice and This event made it clear that the tools tion project o ering rain barrels to for guiding inquiry, along with design- to assist students in expanding their sions before the discussion are inspired Visit the Year Of website at mcwebspace.net/theyearof implications for the college education collect water at Moorpark College ing e ective ideation sessions and to rethink their position or at least of designers and continuing education thinking beyond assumptions are campus. Unlike interventions that render quick, rough prototypes. needed. In his TEDxMoorparkCollege consider the consequences and e ects Visit the Year Of website at mcwebspace.net/theyearof of professionals. It presents the princi- focus on residential and municipal of their conclusions. ples that underlie design practice in 3. Prototyping 2014. Talk “Debating extremists - where water use, Miracle Barrels focuses on the knowledge economy. we go wrong, ” Moorpark College 02_Poster by Miracle Barrels team member Tyler Shapland announcing the launch of the Miracle Barrels during the Moorpark College Year of Wellness. DESIGN AND SOCIETY 04 industrial and agricultural water use. Impact: Strategies for My Impact project “Gray Matters.” was Philosophy major Daniel Seyler argued Creative Intervention directly Inspired by an event that took the need for an open dialogue: 2. Rhythmic Dynamics is a percus- program at the SVA place during my Spring 2017 Design sion-based music program for people 1. To say that you don’t need to listen explores the many roles and Society class. Screening of "The who are timid about music and want to to someone else because you know creative professionals can Story of Sta " documentary preceded start learning in a hands-on environ- them to be wrong is to assume and to In Spring 2006, in response to the AIGA play when executing Impact: Strategies for Creative Inter- the class discussion about design as an ment run by students. assert your infallibility. It is to say that Designer 2015 proposal for the new vention program at the School of socially-minded work and agent of change. This documentary there is nothing that anyone else could competencies in design education, I Since the design is a cultural practice Visual Arts (SVA) in New York assists in focuses on two critical provoked a group of students to show have been thought of that you have built the interactive portal Design and deeply embedded in the fabric of building the strategic foundation for a areas; social entrepreneur- Lou Dobbs‘s rebuttal of "The Story of not, and no one can a ord to be this Society (http://redsparrow.org/de- society, design education is in the socially minded, design-driven projects ship and community Stu ." Each one of the antagonistic arrogant. sign-and-society/). IGETC college levels perpetual beta state. In order for and an understanding of the steps engagement. groups was ready to dismiss their 2. To allow false beliefs to exist course Design and Society was Design and Society course to re ect needed to make it a reality. Many opponents, thus labeling them in a unchecked and unchallenged is to launched in Fall 2006, and it soon the current social, economic, political design, communication, and architec- Getting Started with way that makes it easy to dismiss their allow for the possibility that they grow became a part of Art, Journalism, and technological climate in which ture professionals have turned their Design Thinking at agenda (liberal, reactionary), not take and become the mainstream. Things Graphic Design, Multimedia and Game design is being made and used, my e orts to self-generated, non-cli- d.school helps educators them seriously and to miss the point. can get worse. We can’t just use num- Design curriculum at Moorpark sabbatical research will focus on the ent-based projects, geared toward to imagine how to bring If they fail to understand what their bers to suppress ideas that we don’t College. Design and Society course is following venues and trends: positive community impact. The the design thinking opponents are doing, they can’t know like. That will not make them go away. based on fteen modules that address program focuses on three critical areas 1. Impact: Strategies for Creative process, principles, and the reasons why they are doing it, and We have to challenge the ideas core questions about the role of design of this approach: Intervention program at the School of mindsets to the classroom, they can’t challenge them in any because ideas cause actions. We in society. Through the real-world Visual Arts (SVA) in New York. and to help them deter- 1. Ecosystem mapping signi cant way. All they can do is try to cannot allow the monopoly on rational projects and collaboration with Moor- 2. Getting Started with Design Think- mine how to integrate Use a variety of mapping tools to stop their opponents' activities. All thought. park College academic departments, ing program at d.school at Stanford design thinking into their explore the elements of a system to they can see is what their opponents “Gray Matters.” project brings students students’ clubs and services, and the University. Both programs provide the work with students. gain an understanding of where and do. They don’t understand why they with opposing views together to local community, students explore concepts, framework, and tools on how how to intervene for positive change. can’t challenge them. Their opponents expand their thinking beyond assump- how designers nd their vision and to incorporate design thinking into the AIGA Designer 2025 2. Creative sessions have integrity and courage to follow tions. It guides students to be a part of voice, and how they inspire and college curriculum. initiative examines social, Participation in the creative sessions through with their beliefs, no matter the construction, development, and achieve change by design: helps develop best practices in form- what anyone else says. direction of their creative interaction. 3. AIGA Designer 2025 assessment of technological, and 1. Miracle Barrels is a water conserva- ing well-articulated critical questions Students who came to some conclu- the changing context for practice and economic trends that This event made it clear that the tools tion project o ering rain barrels to for guiding inquiry, along with design- sions before the discussion are inspired implications for the college education will shape the environ- to assist students in expanding their collect water at Moorpark College ing e ective ideation sessions and to rethink their position or at least of designers and continuing education ment in which designers thinking beyond assumptions are campus. Unlike interventions that render quick, rough prototypes. consider the consequences and e ects of professionals. It presents the princi- work and identi es related needed. In his TEDxMoorparkCollege focus on residential and municipal of their conclusions. ples that underlie design practice in competencies for success- 3. Prototyping 2014. Talk “Debating extremists - where water use, Miracle Barrels focuses on the knowledge economy. ful practice. we go wrong, ” Moorpark College 03_Main programs and trends of my sabbatical research and study.
DESIGN AND SOCIETY 05 industrial and agricultural water use. DESIGN AND SOCIETY Papa Yama’s Heart o ers My Impact project “Gray Matters.” was Philosophy major Daniel Seyler argued adult children a platform directly Inspired by an event that took the need for an open dialogue: 2. Rhythmic Dynamics is a percus- Impact: Strategies for to customize and send place during my Spring 2017 Design sion-based music program for people 1. To say that you don’t need to listen Creative Intervention snack-packs to their and Society class. Screening of "The who are timid about music and want to to someone else because you know fathers with heart disease. Story of Sta " documentary preceded start learning in a hands-on environ- them to be wrong is to assume and to In Spring 2006, in response to the AIGA Impact: Strategies for Creative Inter- There is no greater moti- the class discussion about design as an ment run by students. assert your infallibility. It is to say that Designer 2015 proposal for the new vention program at the School of vator for a father than his agent of change. This documentary there is nothing that anyone else could competencies in design education, I Since the design is a cultural practice Visual Arts (SVA) in New York assists in child, and this snack serves provoked a group of students to show have been thought of that you have built the interactive portal Design and deeply embedded in the fabric of building the strategic foundation for a as the catalyst to ultimate- Lou Dobbs‘s rebuttal of "The Story of not, and no one can a ord to be this Society (http://redsparrow.org/de- society, design education is in the socially minded, design-driven projects ly motivate him to make Stu ." Each one of the antagonistic arrogant. sign-and-society/). IGETC college levels perpetual beta state. In order for and an understanding of the steps 04_SVA Project One: Papa Yama’s Heart healthier choices. groups was ready to dismiss their 2. To allow false beliefs to exist course Design and Society was Design and Society course to re ect needed to make it a reality. Many opponents, thus labeling them in a unchecked and unchallenged is to launched in Fall 2006, and it soon the current social, economic, political design, communication, and architec- Columbia is Wounded is a way that makes it easy to dismiss their allow for the possibility that they grow became a part of Art, Journalism, and technological climate in which ture professionals have turned their program where students agenda (liberal, reactionary), not take and become the mainstream. Things Graphic Design, Multimedia and Game design is being made and used, my e orts to self-generated, non-cli- co-create and build them seriously and to miss the point. can get worse. We can’t just use num- Design curriculum at Moorpark sabbatical research will focus on the ent-based projects, geared toward memorials with displaced If they fail to understand what their bers to suppress ideas that we don’t College. Design and Society course is following venues and trends: positive community impact. The community members. opponents are doing, they can’t know like. That will not make them go away. based on fteen modules that address program focuses on three critical areas 1. Impact: Strategies for Creative After 50 years of internal the reasons why they are doing it, and We have to challenge the ideas core questions about the role of design of this approach: Intervention program at the School of armed con ict, Colombia they can’t challenge them in any because ideas cause actions. We in society. Through the real-world Visual Arts (SVA) in New York. 1. Ecosystem mapping has the largest number of signi cant way. All they can do is try to cannot allow the monopoly on rational projects and collaboration with Moor- 2. Getting Started with Design Think- Use a variety of mapping tools to internally displaced stop their opponents' activities. All thought. park College academic departments, ing program at d.school at Stanford explore the elements of a system to persons in the world. they can see is what their opponents “Gray Matters.” project brings students students’ clubs and services, and the 05_SVA Project Two: Columbia is Wounded University. Both programs provide the gain an understanding of where and do. They don’t understand why they with opposing views together to local community, students explore concepts, framework, and tools on how how to intervene for positive change. can’t challenge them. Their opponents expand their thinking beyond assump- how designers nd their vision and to incorporate design thinking into the 2. Creative sessions O-Town Kitchen is a church have integrity and courage to follow tions. It guides students to be a part of voice, and how they inspire and college curriculum. Participation in the creative sessions soup kitchen that maxi- through with their beliefs, no matter the construction, development, and achieve change by design: helps develop best practices in form- mizes on its food dona- what anyone else says. direction of their creative interaction. 3. AIGA Designer 2025 assessment of 1. Miracle Barrels is a water conserva- ing well-articulated critical questions tions by converting food Students who came to some conclu- the changing context for practice and This event made it clear that the tools tion project o ering rain barrels to for guiding inquiry, along with design- into preserves and other sions before the discussion are inspired implications for the college education to assist students in expanding their collect water at Moorpark College ing e ective ideation sessions and food items with a long life to rethink their position or at least of designers and continuing education thinking beyond assumptions are campus. Unlike interventions that render quick, rough prototypes. span to be sold at local consider the consequences and e ects of professionals. It presents the princi- needed. In his TEDxMoorparkCollege focus on residential and municipal markets and giving the of their conclusions. ples that underlie design practice in 3. Prototyping 2014. Talk “Debating extremists - where water use, Miracle Barrels focuses on homeless the opportunity the knowledge economy. we go wrong, ” Moorpark College to make and sell items. 06_SVA Project Three: O-Town Kitchen
DESIGN AND SOCIETY 06 industrial and agricultural water use. My Impact project “Gray Matters.” was Philosophy major Daniel Seyler argued directly Inspired by an event that took the need for an open dialogue: 2. Rhythmic Dynamics is a percus- place during my Spring 2017 Design sion-based music program for people 1. To say that you don’t need to listen and Society class. Screening of "The who are timid about music and want to to someone else because you know Story of Sta " documentary preceded start learning in a hands-on environ- them to be wrong is to assume and to In Spring 2006, in response to the AIGA Impact: Strategies for Creative Inter- the class discussion about design as an ment run by students. assert your infallibility. It is to say that Designer 2015 proposal for the new vention program at the School of agent of change. This documentary there is nothing that anyone else could competencies in design education, I Since the design is a cultural practice Visual Arts (SVA) in New York assists in provoked a group of students to show have been thought of that you have built the interactive portal Design and deeply embedded in the fabric of building the strategic foundation for a Lou Dobbs‘s rebuttal of "The Story of not, and no one can a ord to be this Society (http://redsparrow.org/de- society, design education is in the socially minded, design-driven projects Stu ." Each one of the antagonistic arrogant. sign-and-society/). IGETC college levels perpetual beta state. In order for and an understanding of the steps groups was ready to dismiss their 2. To allow false beliefs to exist course Design and Society was Design and Society course to re ect needed to make it a reality. Many opponents, thus labeling them in a unchecked and unchallenged is to launched in Fall 2006, and it soon the current social, economic, political design, communication, and architec- way that makes it easy to dismiss their allow for the possibility that they grow became a part of Art, Journalism, and technological climate in which ture professionals have turned their agenda (liberal, reactionary), not take and become the mainstream. Things Graphic Design, Multimedia and Game design is being made and used, my e orts to self-generated, non-cli- them seriously and to miss the point. can get worse. We can’t just use num- Design curriculum at Moorpark sabbatical research will focus on the ent-based projects, geared toward If they fail to understand what their bers to suppress ideas that we don’t College. Design and Society course is following venues and trends: positive community impact. The opponents are doing, they can’t know like. That will not make them go away. based on fteen modules that address program focuses on three critical areas 1. Impact: Strategies for Creative the reasons why they are doing it, and We have to challenge the ideas core questions about the role of design of this approach: Intervention program at the School of they can’t challenge them in any because ideas cause actions. We in society. Through the real-world Visual Arts (SVA) in New York. 1. Ecosystem mapping signi cant way. All they can do is try to cannot allow the monopoly on rational projects and collaboration with Moor- 2. Getting Started with Design Think- Use a variety of mapping tools to stop their opponents' activities. All thought. park College academic departments, ing program at d.school at Stanford explore the elements of a system to they can see is what their opponents “Gray Matters.” project brings students students’ clubs and services, and the University. Both programs provide the gain an understanding of where and do. They don’t understand why they with opposing views together to local community, students explore concepts, framework, and tools on how how to intervene for positive change. can’t challenge them. Their opponents expand their thinking beyond assump- how designers nd their vision and to incorporate design thinking into the 2. Creative sessions have integrity and courage to follow tions. It guides students to be a part of voice, and how they inspire and college curriculum. Participation in the creative sessions through with their beliefs, no matter the construction, development, and achieve change by design: helps develop best practices in form- what anyone else says. direction of their creative interaction. 3. AIGA Designer 2025 assessment of 1. Miracle Barrels is a water conserva- ing well-articulated critical questions Students who came to some conclu- the changing context for practice and This event made it clear that the tools tion project o ering rain barrels to for guiding inquiry, along with design- sions before the discussion are inspired implications for the college education to assist students in expanding their collect water at Moorpark College ing e ective ideation sessions and to rethink their position or at least of designers and continuing education thinking beyond assumptions are campus. Unlike interventions that render quick, rough prototypes. consider the consequences and e ects of professionals. It presents the princi- needed. In his TEDxMoorparkCollege focus on residential and municipal of their conclusions. ples that underlie design practice in 3. Prototyping 2014. Talk “Debating extremists - where water use, Miracle Barrels focuses on the knowledge economy. we go wrong, ” Moorpark College
DESIGN AND SOCIETY 07 their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and GRAY their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter MATTERS. with the opposing view. It will be historical data or making risky bets 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your WE ARE EXPOSED TO LIKE-MINDED PEOPLE assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things 07_Impact: Strategies for Creative Intervention: “Gray Matters.” 09_Impact: Strategies for Creative Intervention: “Gray Matters.” Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their PATAGONIA GUCCI their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper SOMETIMES.....WE DISMISS OUR OPPONENTS WE ARE NOT MIXING AND UNDERSTANDING OTHERS their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest- 08_Impact: Strategies for Creative Intervention: “Gray Matters.” 10_Impact: Strategies for Creative Intervention: “Gray Matters.”
DESIGN AND SOCIETY 08
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan-
Module 01: Why Design? "Designers are the biggest synthesizers in the world. What they do best is make a synthesis of human needs, current conditions in the economy, in materials, Trends presented in the AIGA Designer in sustainability issues, and then what 2025 document are the guidelines for they do at the end -- if they are good -- the Design and Society course update. is much more than the sum of its parts." The US Bureau of Labor Statistics (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional TED2007) graphic design positions between 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global expects design positions in networked paradigm shift from an industrial communication to grow by 27%. To economy to experience and knowl- address this estimate, the scope of the edge-based economy. The design is a course has to be expanded beyond user-centered innovation process that traditional graphic design, to include can transform products, services, and the complexity of contemporary experiences to enhance business problems, human-centered focus, and competitiveness. Through the design dynamic and interactive systems. innovation process, operational e ciency may be improved, but more This course centers on fteen ques- importantly, the product-service-expe- tions and various activities that prompt rience innovations will value-add to discussions about the nature of design. businesses as they strive to be relevant The questions posed here address to the ever-changing demands. Argu- issues that span time periods and ably the most important new line of stylistic groupings. The material is thinking in design is the concept of intended to o er di erent viewpoints user-centeredness, which is at the heart rather than draw conclusions about of the design thinking movement. design. I hope that discussions begin- Improving human experience by ning with “Why Design?” will continue serving business, humanitarian, or further providing a basis for thinking other purposes is the general objective about design wherever it is encoun- of design. These ideas are beginning to tered. bring unity to design as a discipline.
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- tions control it with the intent of statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental photograph and halftone screens, but toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to and other forms became variable of skills in reading and writing and his with little di culty. This is because experimental, art and design work to expressions of data les. Desktop sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, M10 will address the following topics: about adding value to a product by • The emergence of media arts as an purpose, aesthetics, and the role users changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. • Since designers solve problems and the new mediums and savvy audience, • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual All That We Share (https://www.youtube.com/watch?v=jD8tjhVO1Tc) through the whole cycle. The design thinking project below was re ection, less engaging with your DON’T KNOW HOW TO CONNECT WITH OPPOSING VIEWS WALK OUTSIDE OUR FILTER BUBBLE assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things 11_Impact: Strategies for Creative Intervention: “Gray Matters.” 13_Impact: Strategies for Creative Intervention: “Gray Matters.” Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- IN WHAT WAY MIGHT WE their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are BRING THOSE WITH them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying OPPOSING VIEWS TOGETHER opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) TO EXPAND THEIR THINKING view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page BEYOND ASSUMPTIONS the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper TALK ABOUT DIFFICULT TOPICS IN A FUN WAY their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest- 12_Impact: Strategies for Creative Intervention: “Gray Matters.” 14_Impact: Strategies for Creative Intervention: “Gray Matters.”
DESIGN AND SOCIETY 09
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan-
Module 01: Why Design? "Designers are the biggest synthesizers in the world. What they do best is make a synthesis of human needs, current conditions in the economy, in materials, Trends presented in the AIGA Designer in sustainability issues, and then what 2025 document are the guidelines for they do at the end -- if they are good -- the Design and Society course update. is much more than the sum of its parts." The US Bureau of Labor Statistics (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional TED2007) graphic design positions between 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global expects design positions in networked paradigm shift from an industrial communication to grow by 27%. To economy to experience and knowl- address this estimate, the scope of the edge-based economy. The design is a course has to be expanded beyond user-centered innovation process that traditional graphic design, to include can transform products, services, and the complexity of contemporary experiences to enhance business problems, human-centered focus, and competitiveness. Through the design dynamic and interactive systems. innovation process, operational e ciency may be improved, but more This course centers on fteen ques- importantly, the product-service-expe- tions and various activities that prompt rience innovations will value-add to discussions about the nature of design. businesses as they strive to be relevant The questions posed here address to the ever-changing demands. Argu- issues that span time periods and ably the most important new line of stylistic groupings. The material is thinking in design is the concept of intended to o er di erent viewpoints user-centeredness, which is at the heart rather than draw conclusions about of the design thinking movement. design. I hope that discussions begin- Improving human experience by ning with “Why Design?” will continue serving business, humanitarian, or further providing a basis for thinking other purposes is the general objective about design wherever it is encoun- of design. These ideas are beginning to tered. bring unity to design as a discipline.
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- tions control it with the intent of statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental photograph and halftone screens, but toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to and other forms became variable of skills in reading and writing and his with little di culty. This is because experimental, art and design work to expressions of data les. Desktop sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, M10 will address the following topics: about adding value to a product by • The emergence of media arts as an purpose, aesthetics, and the role users changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. • Since designers solve problems and the new mediums and savvy audience, • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual Nature's Finest Club (http://www.natures nestclub.org/) through the whole cycle. The design thinking project below was re ection, less engaging with your SHARE ENDURANCE ACTIVITY FOR A COMMON GOAL EXPRESS OUR VIEWS WITH PICTOGRAPHS assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things 15_Impact: Strategies for Creative Intervention: “Gray Matters.” 17_Impact: Strategies for Creative Intervention: “Gray Matters.” Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their OLD their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- X their last encounter with the opposing the opponent's views, or enjoy learn- X tions than their opinions, just catalog X view, everything from releasing that ing about the di erent aspects. You are X them, have some creative leaps. X X they do not share the expressed not looking for the bug list, but trying COMPLEX SIMPLE X X opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) X X view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from X X communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page X XX the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. YOUNG receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the I Believe:______I Think:______I Feel:______experience. Participants will redesign problem based on the empathy for 2: Dig deeper BUILD A WALL OF OPINIONS, BELIEFS AND FEELINGS PLACE OUR VIEWS ON A MATRIX: IT ISN’T BLACK/WHITE their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest- 16_Impact: Strategies for Creative Intervention: “Gray Matters.” 18_Impact: Strategies for Creative Intervention: “Gray Matters.”
DESIGN AND SOCIETY 10
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan-
Module 01: Why Design? "Designers are the biggest synthesizers in the world. What they do best is make a synthesis of human needs, current conditions in the economy, in materials, Trends presented in the AIGA Designer in sustainability issues, and then what 2025 document are the guidelines for they do at the end -- if they are good -- the Design and Society course update. is much more than the sum of its parts." The US Bureau of Labor Statistics (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional TED2007) graphic design positions between 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global expects design positions in networked paradigm shift from an industrial communication to grow by 27%. To economy to experience and knowl- address this estimate, the scope of the edge-based economy. The design is a course has to be expanded beyond user-centered innovation process that traditional graphic design, to include can transform products, services, and the complexity of contemporary experiences to enhance business problems, human-centered focus, and competitiveness. Through the design dynamic and interactive systems. innovation process, operational e ciency may be improved, but more This course centers on fteen ques- importantly, the product-service-expe- tions and various activities that prompt rience innovations will value-add to discussions about the nature of design. businesses as they strive to be relevant The questions posed here address to the ever-changing demands. Argu- issues that span time periods and ably the most important new line of stylistic groupings. The material is thinking in design is the concept of intended to o er di erent viewpoints user-centeredness, which is at the heart rather than draw conclusions about of the design thinking movement. design. I hope that discussions begin- Improving human experience by ning with “Why Design?” will continue serving business, humanitarian, or further providing a basis for thinking other purposes is the general objective about design wherever it is encoun- of design. These ideas are beginning to tered. bring unity to design as a discipline.
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- tions control it with the intent of statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental photograph and halftone screens, but toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to and other forms became variable of skills in reading and writing and his with little di culty. This is because experimental, art and design work to expressions of data les. Desktop sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, M10 will address the following topics: about adding value to a product by • The emergence of media arts as an purpose, aesthetics, and the role users changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. • Since designers solve problems and the new mediums and savvy audience, • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? During the Spring 2018 discussion their partner win the debate, but few things stayed with you (ah, that is about the simplicity and complexity in support their partner gain better impressive) and went beyond tactical design, a student expressed his rm experience and redesign that experi- to an emotional territory. Seek emo- belief that older generation prefers THE GOAL IS TO: ence so that next time they encounter tions, and the goal should be to get simple interfaces (Apple remote), while the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from younger generation prefers complex DEVELOP EMPATHY AND experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and interfaces (Google remote). We placed CRAFT COMPELLING INSIGHTS their counterpart as well. onto something. The worst thing they our views on the matrix shown on experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other page 07 (old/young, simple/complex), THAT solutions. By using design thinking, we about this” will be partners. Partner A will ask and quickly saw the visual proof that it make decisions based on what future partner B about the last encounter B interviews A (4 minutes) is not black and white. Use of the CHALLENGE AND clients want instead of relying only on with the opposing view. It will be 3: Capture Findings (3 minutes) matrix helped advance our discussion historical data or making risky bets REFRAME VIEWS fast-paced, rushed, the point is to get beyond assumptions, and students based on instinct instead of evidence. Take a moment for more individual through the whole cycle. opened up for meaningful exchange The design thinking project below was re ection, less engaging with your which resulted in sustained learning. assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things 20_Impact: Strategies for Creative Intervention: “Gray Matters.” Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than WHAT’S NEXT: experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog EXPAND THE SCOPE OF BASIC SKILLS view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. ADD TO TEACHER TRAINING they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) ADD A COLUMN TO RUBRIC view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from BUILD COMMUNITY OF CO-CREATORS communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. KEEP IT IN PERMANENT BETA receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper REFLECT/DISCUSS OVER THE TEA CEREMONY/PIZZA PARTY their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest- 19_Impact: Strategies for Creative Intervention: “Gray Matters.” 21_Impact: Strategies for Creative Intervention: “Gray Matters.”
DESIGN AND SOCIETY 11
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan-
Module 01: Why Design? "Designers are the biggest synthesizers in the world. What they do best is make a synthesis of human needs, current conditions in the economy, in materials, Trends presented in the AIGA Designer in sustainability issues, and then what 2025 document are the guidelines for they do at the end -- if they are good -- the Design and Society course update. is much more than the sum of its parts." The US Bureau of Labor Statistics (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional TED2007) graphic design positions between 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global expects design positions in networked paradigm shift from an industrial communication to grow by 27%. To economy to experience and knowl- address this estimate, the scope of the edge-based economy. The design is a course has to be expanded beyond user-centered innovation process that traditional graphic design, to include can transform products, services, and the complexity of contemporary experiences to enhance business problems, human-centered focus, and competitiveness. Through the design dynamic and interactive systems. innovation process, operational e ciency may be improved, but more This course centers on fteen ques- importantly, the product-service-expe- tions and various activities that prompt rience innovations will value-add to discussions about the nature of design. businesses as they strive to be relevant The questions posed here address to the ever-changing demands. Argu- issues that span time periods and ably the most important new line of stylistic groupings. The material is thinking in design is the concept of intended to o er di erent viewpoints user-centeredness, which is at the heart rather than draw conclusions about of the design thinking movement. design. I hope that discussions begin- Improving human experience by ning with “Why Design?” will continue serving business, humanitarian, or further providing a basis for thinking other purposes is the general objective about design wherever it is encoun- of design. These ideas are beginning to tered. bring unity to design as a discipline.
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- tions control it with the intent of statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental photograph and halftone screens, but toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to and other forms became variable of skills in reading and writing and his with little di culty. This is because experimental, art and design work to expressions of data les. Desktop sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, M10 will address the following topics: about adding value to a product by • The emergence of media arts as an purpose, aesthetics, and the role users changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. • Since designers solve problems and the new mediums and savvy audience, • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? DESIGN AND SOCIETY their partner win the debate, but few things stayed with you (ah, that is Design Thinking support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and DESIGN their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future THINKING will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) based on instinct instead of evidence. fast-paced, rushed, the point is to get "Design thinking is a human-centered approach to innovation that draws from Take a moment for more individual The design thinking project below was the designer's toolkit to integrate the needs of people, the possibilities of technology, through the whole cycle. and the requirements for success." re ection, less engaging with your assigned to the Design and Society Tim Brown, CEO of IDEO PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, 22_Design Thinking: De nition partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. 1. EMPATHIZE (talk to your clients directly) receiving thanks or not - all that is their 2. DEFINE (de ne the problem statement from the empathy work) B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign 3. IDEATE (brainstorm to get many new ideas to solve the problem) problem based on the empathy for 4. PROTOTYPE (build and make things to test the concepts) 2: Dig deeper their partner’s experience of encoun- 5. TEST (test them with your users) your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest- 23_Five Phases of Design
DESIGN AND SOCIETY 12
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan-
Module 01: Why Design? "Designers are the biggest synthesizers in the world. What they do best is make a synthesis of human needs, current conditions in the economy, in materials, Trends presented in the AIGA Designer in sustainability issues, and then what 2025 document are the guidelines for they do at the end -- if they are good -- the Design and Society course update. is much more than the sum of its parts." The US Bureau of Labor Statistics (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional TED2007) graphic design positions between 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global expects design positions in networked paradigm shift from an industrial communication to grow by 27%. To economy to experience and knowl- address this estimate, the scope of the edge-based economy. The design is a course has to be expanded beyond user-centered innovation process that traditional graphic design, to include can transform products, services, and the complexity of contemporary experiences to enhance business problems, human-centered focus, and competitiveness. Through the design dynamic and interactive systems. innovation process, operational e ciency may be improved, but more This course centers on fteen ques- importantly, the product-service-expe- tions and various activities that prompt rience innovations will value-add to discussions about the nature of design. businesses as they strive to be relevant The questions posed here address to the ever-changing demands. Argu- issues that span time periods and ably the most important new line of stylistic groupings. The material is thinking in design is the concept of intended to o er di erent viewpoints user-centeredness, which is at the heart rather than draw conclusions about of the design thinking movement. design. I hope that discussions begin- Improving human experience by ning with “Why Design?” will continue serving business, humanitarian, or further providing a basis for thinking other purposes is the general objective about design wherever it is encoun- of design. These ideas are beginning to tered. bring unity to design as a discipline.
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- tions control it with the intent of statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental photograph and halftone screens, but toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to and other forms became variable of skills in reading and writing and his with little di culty. This is because experimental, art and design work to expressions of data les. Desktop sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, M10 will address the following topics: about adding value to a product by • The emergence of media arts as an purpose, aesthetics, and the role users changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. • Since designers solve problems and the new mediums and savvy audience, • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from EMPATHIZE minutes - you will know you are really experience for them and hopefully for the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative Think about your last encounter with the opposing view - everything from releasing can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we that you do not share the expressed view, to questioning your point of view, to about this” will be partners. Partner A will ask de ning your point of view, to expressing it, debating it, losing the debate, winning make decisions based on what future the debate, receiving thanks or not - all that is your experience. B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter You will redesign your partner’s experience of encountering the opposing views. Not with the opposing view. It will be help your partner win the debate, but help your partner gain a better experience and historical data or making risky bets redesign that experience so that next time they encounter the opposing view it 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get becomes a better experience for them and hopefully for their counterpart as well. based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by 24_Design Thinking: Phase One: Emphatize partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest- 25_Design Thinking: Worksheet One
DESIGN AND SOCIETY 13
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan-
Module 01: Why Design? "Designers are the biggest synthesizers in the world. What they do best is make a synthesis of human needs, current conditions in the economy, in materials, Trends presented in the AIGA Designer in sustainability issues, and then what 2025 document are the guidelines for they do at the end -- if they are good -- the Design and Society course update. is much more than the sum of its parts." The US Bureau of Labor Statistics (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional TED2007) graphic design positions between 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global expects design positions in networked paradigm shift from an industrial communication to grow by 27%. To economy to experience and knowl- address this estimate, the scope of the edge-based economy. The design is a course has to be expanded beyond user-centered innovation process that traditional graphic design, to include can transform products, services, and the complexity of contemporary experiences to enhance business problems, human-centered focus, and competitiveness. Through the design dynamic and interactive systems. innovation process, operational e ciency may be improved, but more This course centers on fteen ques- importantly, the product-service-expe- tions and various activities that prompt rience innovations will value-add to discussions about the nature of design. businesses as they strive to be relevant The questions posed here address to the ever-changing demands. Argu- issues that span time periods and ably the most important new line of stylistic groupings. The material is thinking in design is the concept of intended to o er di erent viewpoints user-centeredness, which is at the heart rather than draw conclusions about of the design thinking movement. design. I hope that discussions begin- Improving human experience by ning with “Why Design?” will continue serving business, humanitarian, or further providing a basis for thinking other purposes is the general objective about design wherever it is encoun- of design. These ideas are beginning to tered. bring unity to design as a discipline.
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- tions control it with the intent of statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental photograph and halftone screens, but toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to and other forms became variable of skills in reading and writing and his with little di culty. This is because experimental, art and design work to expressions of data les. Desktop sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, M10 will address the following topics: about adding value to a product by • The emergence of media arts as an purpose, aesthetics, and the role users changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. • Since designers solve problems and the new mediums and savvy audience, • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really DEFINE the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other 1: Interview solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask 2: Dig deeper B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter 3: Capture Findings with the opposing view. It will be historical data or making risky bets 3: Capture Findings (3 minutes) 4: De ne problem statement fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by 26_Design Thinking: Phase Two: De ne partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest- 27_Design Thinking: Worksheet Two
DESIGN AND SOCIETY 14
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan-
Module 01: Why Design? "Designers are the biggest synthesizers in the world. What they do best is make a synthesis of human needs, current conditions in the economy, in materials, Trends presented in the AIGA Designer in sustainability issues, and then what 2025 document are the guidelines for they do at the end -- if they are good -- the Design and Society course update. is much more than the sum of its parts." The US Bureau of Labor Statistics (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional TED2007) graphic design positions between 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global expects design positions in networked paradigm shift from an industrial communication to grow by 27%. To economy to experience and knowl- address this estimate, the scope of the edge-based economy. The design is a course has to be expanded beyond user-centered innovation process that traditional graphic design, to include can transform products, services, and the complexity of contemporary experiences to enhance business problems, human-centered focus, and competitiveness. Through the design dynamic and interactive systems. innovation process, operational e ciency may be improved, but more This course centers on fteen ques- importantly, the product-service-expe- tions and various activities that prompt rience innovations will value-add to discussions about the nature of design. businesses as they strive to be relevant The questions posed here address to the ever-changing demands. Argu- issues that span time periods and ably the most important new line of stylistic groupings. The material is thinking in design is the concept of intended to o er di erent viewpoints user-centeredness, which is at the heart rather than draw conclusions about of the design thinking movement. design. I hope that discussions begin- Improving human experience by ning with “Why Design?” will continue serving business, humanitarian, or further providing a basis for thinking other purposes is the general objective about design wherever it is encoun- of design. These ideas are beginning to tered. bring unity to design as a discipline.
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- tions control it with the intent of statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental photograph and halftone screens, but toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to and other forms became variable of skills in reading and writing and his with little di culty. This is because experimental, art and design work to expressions of data les. Desktop sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, M10 will address the following topics: about adding value to a product by • The emergence of media arts as an purpose, aesthetics, and the role users changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. • Since designers solve problems and the new mediums and savvy audience, • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest-
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by IDEATE is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, 5: Sketch 5 solutions How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- 6: Feedback on sketches see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would 7: Re ect and generate a new solution they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you 28_Design Thinking: Phase Three: Ideate cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan- 29_Design Thinking: Worksheet Three
DESIGN AND SOCIETY 15
Module 01: Why Design? "Designers are the biggest synthesizers in the world. What they do best is make a synthesis of human needs, current conditions in the economy, in materials, Trends presented in the AIGA Designer in sustainability issues, and then what 2025 document are the guidelines for they do at the end -- if they are good -- the Design and Society course update. is much more than the sum of its parts." The US Bureau of Labor Statistics (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional TED2007) graphic design positions between 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global expects design positions in networked paradigm shift from an industrial communication to grow by 27%. To economy to experience and knowl- address this estimate, the scope of the edge-based economy. The design is a course has to be expanded beyond user-centered innovation process that traditional graphic design, to include can transform products, services, and the complexity of contemporary experiences to enhance business problems, human-centered focus, and competitiveness. Through the design dynamic and interactive systems. innovation process, operational e ciency may be improved, but more This course centers on fteen ques- importantly, the product-service-expe- tions and various activities that prompt rience innovations will value-add to discussions about the nature of design. businesses as they strive to be relevant The questions posed here address to the ever-changing demands. Argu- issues that span time periods and ably the most important new line of stylistic groupings. The material is thinking in design is the concept of intended to o er di erent viewpoints user-centeredness, which is at the heart rather than draw conclusions about of the design thinking movement. design. I hope that discussions begin- Improving human experience by ning with “Why Design?” will continue serving business, humanitarian, or further providing a basis for thinking other purposes is the general objective about design wherever it is encoun- of design. These ideas are beginning to tered. bring unity to design as a discipline.
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- tions control it with the intent of statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental photograph and halftone screens, but toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to and other forms became variable of skills in reading and writing and his with little di culty. This is because experimental, art and design work to expressions of data les. Desktop sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, M10 will address the following topics: about adding value to a product by • The emergence of media arts as an purpose, aesthetics, and the role users changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. • Since designers solve problems and the new mediums and savvy audience, • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest-
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an PROTOTYPE grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, 8: Build your solution How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) 9: Build your solution and get feedback outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you 30_Design Thinking: Phase Four: Prototype cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan- 31_Design Thinking: Worksheet Four
DESIGN AND SOCIETY 16
Module 01: Why Design? "Designers are the biggest synthesizers in the world. What they do best is make a synthesis of human needs, current conditions in the economy, in materials, Trends presented in the AIGA Designer in sustainability issues, and then what 2025 document are the guidelines for they do at the end -- if they are good -- the Design and Society course update. is much more than the sum of its parts." The US Bureau of Labor Statistics (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional TED2007) graphic design positions between 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global expects design positions in networked paradigm shift from an industrial communication to grow by 27%. To economy to experience and knowl- address this estimate, the scope of the edge-based economy. The design is a course has to be expanded beyond user-centered innovation process that traditional graphic design, to include can transform products, services, and the complexity of contemporary experiences to enhance business problems, human-centered focus, and competitiveness. Through the design dynamic and interactive systems. innovation process, operational e ciency may be improved, but more This course centers on fteen ques- importantly, the product-service-expe- tions and various activities that prompt rience innovations will value-add to discussions about the nature of design. businesses as they strive to be relevant The questions posed here address to the ever-changing demands. Argu- issues that span time periods and ably the most important new line of stylistic groupings. The material is thinking in design is the concept of intended to o er di erent viewpoints user-centeredness, which is at the heart rather than draw conclusions about of the design thinking movement. design. I hope that discussions begin- Improving human experience by ning with “Why Design?” will continue serving business, humanitarian, or further providing a basis for thinking other purposes is the general objective about design wherever it is encoun- of design. These ideas are beginning to tered. bring unity to design as a discipline.
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- tions control it with the intent of statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental photograph and halftone screens, but toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to and other forms became variable of skills in reading and writing and his with little di culty. This is because experimental, art and design work to expressions of data les. Desktop sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, M10 will address the following topics: about adding value to a product by • The emergence of media arts as an purpose, aesthetics, and the role users changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. • Since designers solve problems and the new mediums and savvy audience, • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest-
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical TEST - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, B gives A feedback on the prototype How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) A gives B feedback on the prototype outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you 32_Design Thinking: Phase Five: Test cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan- 31_Design Thinking: Worksheet Five
DESIGN AND SOCIETY 17
Module 01: Why Design? "Designers are the biggest synthesizers in the world. What they do best is make a synthesis of human needs, current conditions in the economy, in materials, Trends presented in the AIGA Designer in sustainability issues, and then what 2025 document are the guidelines for they do at the end -- if they are good -- the Design and Society course update. is much more than the sum of its parts." The US Bureau of Labor Statistics (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional TED2007) graphic design positions between 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global expects design positions in networked paradigm shift from an industrial communication to grow by 27%. To economy to experience and knowl- address this estimate, the scope of the edge-based economy. The design is a course has to be expanded beyond user-centered innovation process that traditional graphic design, to include can transform products, services, and the complexity of contemporary experiences to enhance business problems, human-centered focus, and competitiveness. Through the design dynamic and interactive systems. innovation process, operational e ciency may be improved, but more This course centers on fteen ques- importantly, the product-service-expe- tions and various activities that prompt rience innovations will value-add to discussions about the nature of design. businesses as they strive to be relevant The questions posed here address to the ever-changing demands. Argu- issues that span time periods and ably the most important new line of stylistic groupings. The material is thinking in design is the concept of intended to o er di erent viewpoints user-centeredness, which is at the heart rather than draw conclusions about of the design thinking movement. design. I hope that discussions begin- Improving human experience by ning with “Why Design?” will continue serving business, humanitarian, or further providing a basis for thinking other purposes is the general objective about design wherever it is encoun- of design. These ideas are beginning to tered. bring unity to design as a discipline.
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- tions control it with the intent of statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental photograph and halftone screens, but toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to and other forms became variable of skills in reading and writing and his with little di culty. This is because experimental, art and design work to expressions of data les. Desktop sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, M10 will address the following topics: about adding value to a product by • The emergence of media arts as an purpose, aesthetics, and the role users changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. • Since designers solve problems and the new mediums and savvy audience, • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest-
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan- 32_”Gray Matters.” Moorpark College Multicultural Day workshop, April 2018
DESIGN AND SOCIETY 18
Module 01: Why Design? "Designers are the biggest synthesizers in the world. What they do best is make a synthesis of human needs, current conditions in the economy, in materials, Trends presented in the AIGA Designer in sustainability issues, and then what 2025 document are the guidelines for they do at the end -- if they are good -- the Design and Society course update. is much more than the sum of its parts." The US Bureau of Labor Statistics (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional TED2007) graphic design positions between 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global expects design positions in networked paradigm shift from an industrial communication to grow by 27%. To economy to experience and knowl- address this estimate, the scope of the edge-based economy. The design is a course has to be expanded beyond user-centered innovation process that traditional graphic design, to include can transform products, services, and the complexity of contemporary experiences to enhance business problems, human-centered focus, and competitiveness. Through the design dynamic and interactive systems. innovation process, operational e ciency may be improved, but more This course centers on fteen ques- importantly, the product-service-expe- tions and various activities that prompt rience innovations will value-add to discussions about the nature of design. businesses as they strive to be relevant The questions posed here address to the ever-changing demands. Argu- issues that span time periods and ably the most important new line of stylistic groupings. The material is thinking in design is the concept of intended to o er di erent viewpoints user-centeredness, which is at the heart rather than draw conclusions about of the design thinking movement. design. I hope that discussions begin- Improving human experience by ning with “Why Design?” will continue serving business, humanitarian, or further providing a basis for thinking other purposes is the general objective about design wherever it is encoun- of design. These ideas are beginning to tered. bring unity to design as a discipline.
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- tions control it with the intent of statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental photograph and halftone screens, but toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to and other forms became variable of skills in reading and writing and his with little di culty. This is because experimental, art and design work to expressions of data les. Desktop sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, M10 will address the following topics: about adding value to a product by • The emergence of media arts as an purpose, aesthetics, and the role users changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. • Since designers solve problems and the new mediums and savvy audience, • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest-
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have DESIGN AND SOCIETY engagement and grow organically Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback AIGA Designer 2025 with changes in their wants and needs. Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) This human-centered focus, in contrast messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. to the message- or product-centered di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, design approaches of the past, raises aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study the importance of research. Research is bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, not just information retrieval at the mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and beginning of the design process but es, lter bubbles limit exposure to a of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) understanding. You are not looking to ongoing feedback and evaluation of Partner A will get 4 minutes to test the outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if the consequences of design action. innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in Technology plays an outsized role in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA the future of design as the second past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions wave of technological in uence communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design increased public access to information as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional anywhere at any time. Most of these contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design networked relationships were asym- received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The metrical in the control of information Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college content and form between sources and behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: users. Systems today, however, are with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design built on models of conversation in tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the which power is shared, and content show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? develops collaboratively and organical- and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to ly. These systems are not well served by of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, an education focused solely on design- tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work ing screens, point-and-click interaction, interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- and static information architecture. global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex They require new platforms for com- standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but munication, gesture and voice-activat- bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the ed technologies that respond more borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. naturally than the visual interfaces, and Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of smart devices that read and learn from People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, our behavior. Data-aware devices open environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful new avenues of design research into services they o er, the delivery chan-
DESIGN AND SOCIETY 19
Module 01: Why Design? "Designers are the biggest synthesizers in the world. What they do best is make a synthesis of human needs, current conditions in the economy, in materials, Trends presented in the AIGA Designer in sustainability issues, and then what 2025 document are the guidelines for they do at the end -- if they are good -- the Design and Society course update. is much more than the sum of its parts." The US Bureau of Labor Statistics (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional TED2007) graphic design positions between 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global expects design positions in networked paradigm shift from an industrial communication to grow by 27%. To economy to experience and knowl- address this estimate, the scope of the edge-based economy. The design is a course has to be expanded beyond user-centered innovation process that traditional graphic design, to include can transform products, services, and the complexity of contemporary experiences to enhance business problems, human-centered focus, and competitiveness. Through the design dynamic and interactive systems. innovation process, operational e ciency may be improved, but more This course centers on fteen ques- importantly, the product-service-expe- tions and various activities that prompt rience innovations will value-add to discussions about the nature of design. businesses as they strive to be relevant The questions posed here address to the ever-changing demands. Argu- issues that span time periods and ably the most important new line of stylistic groupings. The material is thinking in design is the concept of intended to o er di erent viewpoints user-centeredness, which is at the heart rather than draw conclusions about of the design thinking movement. design. I hope that discussions begin- Improving human experience by ning with “Why Design?” will continue serving business, humanitarian, or further providing a basis for thinking other purposes is the general objective about design wherever it is encoun- of design. These ideas are beginning to tered. bring unity to design as a discipline.
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- tions control it with the intent of statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental photograph and halftone screens, but toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to and other forms became variable of skills in reading and writing and his with little di culty. This is because experimental, art and design work to expressions of data les. Desktop sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, M10 will address the following topics: about adding value to a product by • The emergence of media arts as an purpose, aesthetics, and the role users changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. • Since designers solve problems and the new mediums and savvy audience, • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest-
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have patterns of human activity, while at the Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. same time raising questions of privacy, themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy transparency, and trust that designers Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. must address. Design education for the tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not future, therefore, is not one in which deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. technology is merely a tool for the ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. design or display of information but a ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not data-rich, data-aware landscape that is approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. reading and responding to everything structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the we do. innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in To bring clarity to this shifting para- like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA digm and its implications for the past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions education of designers, AIGA Designer communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design 2025 describes the following trends as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional likely to continue into the future. contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design Trend: Complexity received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? Problems are increasingly situated solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not within more extensive systems that People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed are characterized by interdependent environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which relationships among elements or uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. activities. Connections are physical, experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have psychological, social, cultural, techno- to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent logical, and economic in their e ects, es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? requiring interdisciplinary expertise. es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business Constraints compete for priority and New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify are unstable in their in uence on the the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge problem. Change in one relationship among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as recon gures others. Methods for interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. working at this scale are di erent from Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. those developed for solving simple we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student problems and require collaboration Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. among experts in various elds. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan-
DESIGN AND SOCIETY 20
Module 01: Why Design? "Designers are the biggest synthesizers in the world. What they do best is make a synthesis of human needs, current conditions in the economy, in materials, Trends presented in the AIGA Designer in sustainability issues, and then what 2025 document are the guidelines for they do at the end -- if they are good -- the Design and Society course update. is much more than the sum of its parts." The US Bureau of Labor Statistics (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional TED2007) graphic design positions between 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global expects design positions in networked paradigm shift from an industrial communication to grow by 27%. To economy to experience and knowl- address this estimate, the scope of the edge-based economy. The design is a course has to be expanded beyond user-centered innovation process that traditional graphic design, to include can transform products, services, and the complexity of contemporary experiences to enhance business problems, human-centered focus, and competitiveness. Through the design dynamic and interactive systems. innovation process, operational e ciency may be improved, but more This course centers on fteen ques- importantly, the product-service-expe- tions and various activities that prompt rience innovations will value-add to discussions about the nature of design. businesses as they strive to be relevant The questions posed here address to the ever-changing demands. Argu- issues that span time periods and ably the most important new line of stylistic groupings. The material is thinking in design is the concept of intended to o er di erent viewpoints user-centeredness, which is at the heart rather than draw conclusions about of the design thinking movement. design. I hope that discussions begin- Improving human experience by ning with “Why Design?” will continue serving business, humanitarian, or further providing a basis for thinking other purposes is the general objective about design wherever it is encoun- of design. These ideas are beginning to tered. bring unity to design as a discipline.
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- tions control it with the intent of statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental photograph and halftone screens, but toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to and other forms became variable of skills in reading and writing and his with little di culty. This is because experimental, art and design work to expressions of data les. Desktop sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, M10 will address the following topics: about adding value to a product by • The emergence of media arts as an purpose, aesthetics, and the role users changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. • Since designers solve problems and the new mediums and savvy audience, • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest-
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan-
DESIGN AND SOCIETY 21
Module 01: Why Design? "Designers are the biggest synthesizers in the world. What they do best is make a synthesis of human needs, current conditions in the economy, in materials, Trends presented in the AIGA Designer in sustainability issues, and then what 2025 document are the guidelines for they do at the end -- if they are good -- the Design and Society course update. is much more than the sum of its parts." The US Bureau of Labor Statistics (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional TED2007) graphic design positions between 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global expects design positions in networked paradigm shift from an industrial communication to grow by 27%. To economy to experience and knowl- address this estimate, the scope of the edge-based economy. The design is a course has to be expanded beyond user-centered innovation process that traditional graphic design, to include can transform products, services, and the complexity of contemporary experiences to enhance business problems, human-centered focus, and competitiveness. Through the design dynamic and interactive systems. innovation process, operational e ciency may be improved, but more This course centers on fteen ques- importantly, the product-service-expe- tions and various activities that prompt rience innovations will value-add to discussions about the nature of design. businesses as they strive to be relevant The questions posed here address to the ever-changing demands. Argu- issues that span time periods and ably the most important new line of stylistic groupings. The material is thinking in design is the concept of intended to o er di erent viewpoints user-centeredness, which is at the heart rather than draw conclusions about of the design thinking movement. design. I hope that discussions begin- Improving human experience by ning with “Why Design?” will continue serving business, humanitarian, or further providing a basis for thinking other purposes is the general objective about design wherever it is encoun- of design. These ideas are beginning to tered. bring unity to design as a discipline.
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- tions control it with the intent of statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental photograph and halftone screens, but toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to and other forms became variable of skills in reading and writing and his with little di culty. This is because experimental, art and design work to expressions of data les. Desktop sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, M10 will address the following topics: about adding value to a product by • The emergence of media arts as an purpose, aesthetics, and the role users changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. • Since designers solve problems and the new mediums and savvy audience, • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest-
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan-
DESIGN AND SOCIETY Module 01: Why Design? "Designers are the biggest synthesizers Design and Society 2018 DESIGN AND SOCIETY 2008-2017 in the world. What they do best is make Module 01: What is Graphic Design? a synthesis of human needs, current Module 02: Should Design be Beautiful? conditions in the economy, in materials, Trends presented in the AIGA Designer Module 03: Should Design Communicate? in sustainability issues, and then what 2025 document are the guidelines for Module 04: Should Design be Realistic? they do at the end -- if they are good -- the Design and Society course update. Module 05: Should Design Express Emotions? Module 06: Are We Approaching the End of Print? is much more than the sum of its parts." The US Bureau of Labor Statistics Module 07: To Obey ot to Break the Typographic Rules? (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional Module 08: What is a Brand? TED2007) graphic design positions between Module 09: What is in a Logo? 2014 and 2024. By contrast, the Bureau Module 10: How do Designers nd Their Voice? Design plays a critical role in the global expects design positions in networked Module 11: What is the Design Process? paradigm shift from an industrial communication to grow by 27%. To Module 12: What is Participatory Design? economy to experience and knowl- Module 13: Art Vs. Design? address this estimate, the scope of the edge-based economy. The design is a Module 14: What is Advertising? course has to be expanded beyond user-centered innovation process that Module 15: What is Sustainable Design? can transform products, services, and traditional graphic design, to include http://redsparrow.org/design-and-society/ the complexity of contemporary experiences to enhance business competitiveness. Through the design problems, human-centered focus, and DESIGN AND SOCIETY 2018- dynamic and interactive systems. innovation process, operational Module 01: Why Design? e ciency may be improved, but more This course centers on fteen ques- Module 02: Should Design be Beautiful? importantly, the product-service-expe- Module 03: Meaning in Design tions and various activities that prompt rience innovations will value-add to Module 04: Simplicity and Complexity in Design discussions about the nature of design. businesses as they strive to be relevant The questions posed here address Module 05: Should Design Make us Feel Good? Module 06: Design Thinking to the ever-changing demands. Argu- issues that span time periods and Module 07: What is Branding? ably the most important new line of stylistic groupings. The material is Module 08: What is in a Logo? thinking in design is the concept of intended to o er di erent viewpoints Module 09: The Power of Typography user-centeredness, which is at the heart rather than draw conclusions about Module 10: Vision and Voice of the design thinking movement. Module 11: Bridging Physical and Digital Experiences design. I hope that discussions begin- Improving human experience by Module 12: Design Is Not an Art Form ning with “Why Design?” will continue serving business, humanitarian, or further providing a basis for thinking Module 13: Advertising's Past, Present, and Future Module 14: Design and Science other purposes is the general objective about design wherever it is encoun- Module 15: Design for the Next Economy of design. These ideas are beginning to tered. bring unity to design as a discipline.
34_Design and Society course update
DESIGN AND SOCIETY 22
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- tions control it with the intent of statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental photograph and halftone screens, but toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to and other forms became variable of skills in reading and writing and his with little di culty. This is because experimental, art and design work to expressions of data les. Desktop sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, M10 will address the following topics: about adding value to a product by • The emergence of media arts as an purpose, aesthetics, and the role users changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. • Since designers solve problems and the new mediums and savvy audience, • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest-
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan-
Module 01: Why Design? "Designers are the biggest synthesizers in the world. What they do best is make a synthesis of human needs, current conditions in the economy, in materials, Trends presented in the AIGA Designer in sustainability issues, and then what 2025 document are the guidelines for they do at the end -- if they are good -- the Design and Society course update. is much more than the sum of its parts." The US Bureau of Labor Statistics (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional TED2007) graphic design positions between 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global expects design positions in networked paradigm shift from an industrial communication to grow by 27%. To economy to experience and knowl- address this estimate, the scope of the edge-based economy. The design is a course has to be expanded beyond user-centered innovation process that can transform products, services, and traditional graphic design, to include Discussion 01: What is Design? experiences to enhance business the complexity of contemporary Read Module One: Why Design, and explore your ideas about what competitiveness. Through the design problems, human-centered focus, and makes something a work of design. innovation process, operational dynamic and interactive systems. 1. Select one of the images from the: e ciency may be improved, but more http://redsparrow.org/gr10/week1/in_mainframeT1.php This course centers on fteen ques- importantly, the product-service-expe- gallery, or choose and insert an image of your choosing. tions and various activities that prompt rience innovations will value-add to discussions about the nature of design. businesses as they strive to be relevant 2. Do you think this image is a work of design? Do you not consider it to be a design artifact? Why? The questions posed here address to the ever-changing demands. Argu- 3. Write a brief answer to the question “What is Design?” Give us your issues that span time periods and ably the most important new line of informed opinion. stylistic groupings. The material is thinking in design is the concept of 4. Write your response and upload it to the Discussions: Module intended to o er di erent viewpoints user-centeredness, which is at the heart One: Why Design? rather than draw conclusions about of the design thinking movement. In responding to other students, it is essential to contribute to the design. I hope that discussions begin- Improving human experience by ning with “Why Design?” will continue weekly topic. While being supportive is encouraged, it cannot be the serving business, humanitarian, or sole content of your response. Your responses should either elabo- further providing a basis for thinking other purposes is the general objective rate on or critique your classmate’s work. about design wherever it is encoun- of design. These ideas are beginning to tered. bring unity to design as a discipline.
36_Sample images and discussion for M1: What is Design?
DESIGN AND SOCIETY 23
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- tions control it with the intent of statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental photograph and halftone screens, but toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to and other forms became variable of skills in reading and writing and his with little di culty. This is because experimental, art and design work to expressions of data les. Desktop sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, M10 will address the following topics: about adding value to a product by • The emergence of media arts as an purpose, aesthetics, and the role users changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. • Since designers solve problems and the new mediums and savvy audience, • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest-
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan-
Module 01: Why Design? M2: Should Design be Beautiful? "Designers are the biggest synthesizers “Ask a toad what beauty is… He will in the world. What they do best is make answer that it is a female with two a synthesis of human needs, current great round eyes coming out of her conditions in the economy, in materials, Trends presented in the AIGA Designer little head, a large at mouth, a yellow in sustainability issues, and then what 2025 document are the guidelines for belly and a brown back.” (Voltaire, they do at the end -- if they are good -- the Design and Society course update. Philosophical Dictionary, 1794.) is much more than the sum of its parts." The US Bureau of Labor Statistics People respond emotionally and (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional intellectually to human-made and TED2007) graphic design positions between nature-made objects, often recogniz- Design plays a critical role in the global 2014 and 2024. By contrast, the Bureau ing characteristics that make them paradigm shift from an industrial expects design positions in networked seem beautiful or ugly without even economy to experience and knowl- communication to grow by 27%. To thinking about it. Many see beauty in edge-based economy. The design is a address this estimate, the scope of the the natural world. Watching a sunset user-centered innovation process that Discussion 02: Should Design be Beautiful? course has to be expanded beyond may raise our heart rate or widen our can transform products, services, and Select the most beautiful and the least beautiful image in the gallery. traditional graphic design, to include eyes. Some people respond to speci c experiences to enhance business the complexity of contemporary subjects because they associate them 1. Describe both examples and give us your aesthetic judgment competitiveness. Through the design based on your senses, emotions, intellectual opinions, desires, problems, human-centered focus, and with pleasure, such as the holiday innovation process, operational culture, values, instinct, and more. dynamic and interactive systems. atmosphere. Others may nd a particu- e ciency may be improved, but more 2. In this module, four di erent aesthetics have been presented: The lar combination of lines, colors, and This course centers on fteen ques- importantly, the product-service-expe- Aesthetics of Ugliness, Machine Aesthetics, Populuxe Aesthetics, and shapes appealing. Our primary tions and various activities that prompt rience innovations will value-add to Everyday Aesthetics. How do your examples re ect these aesthetic? concepts of aesthetics can be culturally discussions about the nature of design. businesses as they strive to be relevant 3. What role aesthetics plays in the e ectiveness of the two design conditioned early in our development The questions posed here address to the ever-changing demands. Argu- examples. Do you think people with similar views and beliefs will and often vary from culture to culture. agree in their aesthetic judgments? issues that span time periods and ably the most important new line of 4. “Beauty is in the eye of the beholder.” What does this saying mean stylistic groupings. The material is thinking in design is the concept of M2 will address the following topics: intended to o er di erent viewpoints to you? Is beauty always in the eye of the beholder, or do we all nd user-centeredness, which is at the heart • Why do we see speci c objects as certain objects and patterns to be beautiful? rather than draw conclusions about of the design thinking movement. beautiful? 5. Do you believe aesthetics to be personal, or do you think people design. I hope that discussions begin- Improving human experience by • What is the di erence between the with similar views will agree in their aesthetic judgments? ning with “Why Design?” will continue serving business, humanitarian, or further providing a basis for thinking aesthetics and taste? 6. What do you think about Pierre Bourdieu’s claim that individual other purposes is the general objective tastes and preferences are socially produced? Do you know of any about design wherever it is encoun- • Is beauty always in the eye of the of design. These ideas are beginning to examples that support this claim, or would you prove it wrong? tered. bring unity to design as a discipline. beholder?
37_Sample images and discussion for M2: Should Design be Beautiful?
DESIGN AND SOCIETY 24
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- tions control it with the intent of statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental photograph and halftone screens, but toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to and other forms became variable of skills in reading and writing and his with little di culty. This is because experimental, art and design work to expressions of data les. Desktop sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, M10 will address the following topics: about adding value to a product by • The emergence of media arts as an purpose, aesthetics, and the role users changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. • Since designers solve problems and the new mediums and savvy audience, • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest-
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan-
Module 01: Why Design? M3: Meaning in Design "Designers are the biggest synthesizers "I am for richness of meaning rather in the world. What they do best is make than clarity of meaning; for the implicit a synthesis of human needs, current function as well as the speci c function. conditions in the economy, in materials, Trends presented in the AIGA Designer I prefer "both-and" to "either-or," black in sustainability issues, and then what 2025 document are the guidelines for and white, and sometimes gray, to they do at the end -- if they are good -- the Design and Society course update. black or white. An architecture evokes is much more than the sum of its parts." The US Bureau of Labor Statistics many levels of meaning and combina- (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional tions of focus: its space and its elements TED2007) graphic design positions between become readable and workable in 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global several ways at once." (Robert Venturi, expects design positions in networked paradigm shift from an industrial Complexity and Contradiction in communication to grow by 27%. To economy to experience and knowl- Architecture, 1966) address this estimate, the scope of the edge-based economy. The design is a The design is a creative process that Discussion 03: Meaning in Design course has to be expanded beyond user-centered innovation process that combines art and technology to build can transform products, services, and 1. View the following eight images and write a brief explanation of traditional graphic design, to include forms and convey messages. To fully what you think the designer is trying to tell the audience. Look for experiences to enhance business the complexity of contemporary appreciate a work of design, viewers visual clues to help you add speci c details to your answer. competitiveness. Through the design problems, human-centered focus, and have to “read” this form and understand • Leo Burnett Co. - Marlboro, The Marlboro Man campaign, 1955 innovation process, operational dynamic and interactive systems. its meaning. The designer communi- • Seymor Chwast - poster against the bombing of Hanoi, 1968 e ciency may be improved, but more • El Lissitzky - Beat the Whites with the Red Wedge, 1918 This course centers on fteen ques- cates the primary purpose of design as importantly, the product-service-expe- • Lester Beal - REA campaign, 1937 tions and various activities that prompt a functional object and the secondary rience innovations will value-add to purpose of design as a symbolic object. • Ogilvy & Mather Frankfurt - WWF campaign, 2005 discussions about the nature of design. businesses as they strive to be relevant • Paul Rand - Direction cover, 1940 The questions posed here address to the ever-changing demands. Argu- M3 will address the following topics: • Del Campo Saatchi - Buenos Aires ZOO campaign, 2004 • Kirshenbaum Bond + Partners - Target campaign, 2000 issues that span time periods and ably the most important new line of • How do we make meaning in design? stylistic groupings. The material is thinking in design is the concept of Read the background information and answer the following • How does design communicate its questions about the eight design examples: intended to o er di erent viewpoints user-centeredness, which is at the heart rather than draw conclusions about function and its literal meaning clearly 2. Which designer seems the most interested in sending a message? of the design thinking movement. 3. Which example appears to be more open to interpretation? design. I hope that discussions begin- to make it practical as well as desirable? Improving human experience by 4. How do these designers convey the messages in their work? ning with “Why Design?” will continue • In addition to this literal meaning serving business, humanitarian, or 5. Try to identify each gure of speech they are using? further providing a basis for thinking other purposes is the general objective (denotation), how does design suggest 6. Which design example is the most interesting to you? about design wherever it is encoun- of design. These ideas are beginning to something else, build a metaphor or an 7. Which is the most challenging? tered. bring unity to design as a discipline. idea in design (connotation)?
38_Sample images and discussion for M3: Meaning in Design?
DESIGN AND SOCIETY 25
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- tions control it with the intent of statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental photograph and halftone screens, but toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to and other forms became variable of skills in reading and writing and his with little di culty. This is because experimental, art and design work to expressions of data les. Desktop sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, M10 will address the following topics: about adding value to a product by • The emergence of media arts as an purpose, aesthetics, and the role users changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. • Since designers solve problems and the new mediums and savvy audience, • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest-
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan-
Module 01: Why Design? M4: Simplicity and Complexity in "Designers are the biggest synthesizers Design in the world. What they do best is make "Good design is as little design as a synthesis of human needs, current possible, less, but better – because it conditions in the economy, in materials, Trends presented in the AIGA Designer concentrates on the essential aspects, in sustainability issues, and then what 2025 document are the guidelines for and the products are not burdened they do at the end -- if they are good -- the Design and Society course update. with non-essentials. Back to purity, is much more than the sum of its parts." The US Bureau of Labor Statistics back to simplicity." (Dieter Rams, 10 (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional Principles of “Good Design, 1970. TED2007) graphic design positions between We have all been exposed to complex Design plays a critical role in the global 2014 and 2024. By contrast, the Bureau interfaces, from maze-like application paradigm shift from an industrial expects design positions in networked forms to the elaborate product manu- economy to experience and knowl- communication to grow by 27%. To als. According to Elon Musk, CEO and edge-based economy. The design is a address this estimate, the scope of the Chairman of Tesla Motors, “Any product user-centered innovation process that Discussion 04: Simplicity and Complexity in Design course has to be expanded beyond that needs a manual to work is broken.” can transform products, services, and 1. Choose two design objects that you use daily, one simple and one traditional graphic design, to include We are pleased when we get to use a experiences to enhance business complex. This could be a household item, a vehicle, a book, a DVD, the complexity of contemporary tool with a smooth, well-designed and packaging, and more. Take photos of both objects and label them as: competitiveness. Through the design problems, human-centered focus, and intuitive interface. Making a complex a. Abstract, b. Simple, c. Less Complex, and d. Complex. innovation process, operational dynamic and interactive systems. task, concept, or artifact appear simple 4. Describe your objects. Look for visual clues to add speci c details. e ciency may be improved, but more This course centers on fteen ques- and clear is what designers exist for. Does the object serve its’ purpose with the minimum means? Does it importantly, the product-service-expe- have extensive ornamentation not related to the purpose? Could it tions and various activities that prompt rience innovations will value-add to M4 will address the following topics: be simpli ed and more e cient? Is it too abstract and requires a discussions about the nature of design. businesses as they strive to be relevant • Is simplicity in design good? Is com- manual to be understood and used? The questions posed here address to the ever-changing demands. Argu- plexity better? 5. Visit Design Musem website and explore the gallery of chairs. issues that span time periods and ably the most important new line of Choose the most complex chair, analyze it, and tell us is the • Are all works of design by their very stylistic groupings. The material is thinking in design is the concept of complexity contributing or taking away from the chair design. nature abstract? intended to o er di erent viewpoints user-centeredness, which is at the heart 6. For a considerable part of the past two centuries, ornament has been the subject of debate in design. Is ornament contributing or rather than draw conclusions about of the design thinking movement. • Does it take more or less design skill taking away from the quality of the design? design. I hope that discussions begin- Improving human experience by and creative ability to design for 7. Design school Bauhaus combined abstract art with crafts under ning with “Why Design?” will continue serving business, humanitarian, or simplicity? further providing a basis for thinking the motto “Less is More.” What do you think about this motto? other purposes is the general objective • Is ornament a crime, or does it need about design wherever it is encoun- 8. Does it take more creativity and design skill to create a complex or of design. These ideas are beginning to to be decriminalized? a simple design? tered. bring unity to design as a discipline.
39_Sample images and discussion for M4: Simplicity & Complexity in Design
DESIGN AND SOCIETY 26
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- tions control it with the intent of statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental photograph and halftone screens, but toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to and other forms became variable of skills in reading and writing and his with little di culty. This is because experimental, art and design work to expressions of data les. Desktop sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, M10 will address the following topics: about adding value to a product by • The emergence of media arts as an purpose, aesthetics, and the role users changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. • Since designers solve problems and the new mediums and savvy audience, • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest-
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan-
Module 01: Why Design? M5: Should Design Make us Feel "Designers are the biggest synthesizers Good? in the world. What they do best is make "There is hardly a single designed a synthesis of human needs, current object—from automobile to ziggu- conditions in the economy, in materials, Trends presented in the AIGA Designer rat—that does not have an emotional in sustainability issues, and then what 2025 document are the guidelines for root. While emotion is considered a they do at the end -- if they are good -- the Design and Society course update. shaky foundation on which to build a is much more than the sum of its parts." The US Bureau of Labor Statistics profession, there is really no such thing (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional as purely objective design." (Steven TED2007) graphic design positions between Heller, Breakthrough: Scientists Find 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global Emotions In uence Design, 2004) paradigm shift from an industrial expects design positions in networked It is impossible to make or appreciate economy to experience and knowl- communication to grow by 27%. To graphic, product, industrial and even edge-based economy. The design is a address this estimate, the scope of the architectural design without acknowl- user-centered innovation process that Discussion 05: Should Design Make us Feel Good? course has to be expanded beyond edging the pleasure and excitement or can transform products, services, and 1. View the paintings from the gallery, and for each painting discuss traditional graphic design, to include anxiety and rage found in experiences experiences to enhance business the feelings the artist was trying to convey. Look at the colors, lines, the complexity of contemporary stimulated by design. This is an import- competitiveness. Through the design textures, and shapes. What is more interesting to you: the shapes problems, human-centered focus, and ant feature because emotions play an and colors or the feelings and emotions they seem to express? innovation process, operational dynamic and interactive systems. essential role in decision making, • Vasily Kandinsky - Sea Battle, 1913 e ciency may be improved, but more perception, learning, and more. • Paul Klee - SouthernGardens, 1919 This course centers on fteen ques- importantly, the product-service-expe- tions and various activities that prompt • Franc Marc - Fighting Forms, 1914 rience innovations will value-add to M5 will address the following topics: • Henri Matisse - The Joy of Life, 1906 discussions about the nature of design. businesses as they strive to be relevant • How do designers target emotions? • Piet Mondrian - Pier and Ocean, 1915 The questions posed here address to the ever-changing demands. Argu- • Piet Mondrian - Composition in Red, Yellow, and Blue, 1930 • Does a design work have to evoke a issues that span time periods and ably the most important new line of • Edvard Munch - The Scream, 1893 feeling or emotion in us? • Jackson Pollock - Moby Dick, 1943 stylistic groupings. The material is thinking in design is the concept of 2. Visit your supermarket, and take photos of three objects: intended to o er di erent viewpoints user-centeredness, which is at the heart • Why we love or hate everyday things? rather than draw conclusions about 2.1 object you respond to viscerally of the design thinking movement. • How does design impact visceral, 2.2 object you respond to behaviorally design. I hope that discussions begin- Improving human experience by behavioral and re ective levels of the 2.3 object you respond to re ectively ning with “Why Design?” will continue serving business, humanitarian, or brain? Describe your experience with each one of the objects. further providing a basis for thinking other purposes is the general objective • Is there a clash between intellect and 3. Do you think a design work must express a feeling or emotion? about design wherever it is encoun- of design. These ideas are beginning to emotion in design appreciation? Why or why not? tered. bring unity to design as a discipline.
40_Sample images and discussion for M5: Should Design Make us Feel Good?
DESIGN AND SOCIETY 27
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- tions control it with the intent of statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental photograph and halftone screens, but toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to and other forms became variable of skills in reading and writing and his with little di culty. This is because experimental, art and design work to expressions of data les. Desktop sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, M10 will address the following topics: about adding value to a product by • The emergence of media arts as an purpose, aesthetics, and the role users changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. • Since designers solve problems and the new mediums and savvy audience, • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest-
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan-
Module 01: Why Design? M6: Design Thinking "Designers are the biggest synthesizers "Design thinking is a human-centered in the world. What they do best is make approach to innovation that draws a synthesis of human needs, current from the designer's toolkit to integrate conditions in the economy, in materials, Trends presented in the AIGA Designer the needs of people, the possibilities of in sustainability issues, and then what 2025 document are the guidelines for technology, and the requirements for they do at the end -- if they are good -- the Design and Society course update. business success." (Tim Brown, CEO of is much more than the sum of its parts." The US Bureau of Labor Statistics IDEO) (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional TED2007) Design thinking utilizes elements from graphic design positions between the designer's toolkit like empathy and Design plays a critical role in the global 2014 and 2024. By contrast, the Bureau experimentation to arrive at innovative paradigm shift from an industrial expects design positions in networked solutions. By using design thinking, we economy to experience and knowl- communication to grow by 27%. To make decisions based on what future edge-based economy. The design is a “How can we secretly stop bullies and prevent bullying without a chance of address this estimate, the scope of the customers want instead of relying only escalating the situation?” by Tyler Tran, Spring 2018. course has to be expanded beyond user-centered innovation process that on historical data or making risky bets Discussion 06: Design Thinking traditional graphic design, to include can transform products, services, and based on instinct instead of evidence. Bullyproof kids bike by designing and naming a new accessory for the complexity of contemporary experiences to enhance business Some of us engage in traditional client kids to use on bicycles to help them stand up to bullies. There are problems, human-centered focus, and competitiveness. Through the design services such as non-pro t, civic or no wrong ideas, as long as it is legal, and protects kids from bullies. dynamic and interactive systems. innovation process, operational e ciency may be improved, but more government, corporate shared value, Start by coming up with as many ideas as you can. You can invite your classmates, friends, and family to brainstorm with you. As you This course centers on fteen ques- importantly, the product-service-expe- or pro-bono. Some of us are entrepre- go through the ve phases of the design thinking process, take tions and various activities that prompt neurs - individuals with innovative rience innovations will value-add to notes and describe your actions and the outcomes. discussions about the nature of design. businesses as they strive to be relevant solutions to society’s most pressing The questions posed here address Try each one of the Creative Ideation methods and submit the to the ever-changing demands. Argu- problems. We engage in the world, and sketches of your exploratory sketching, brainstorming, mind issues that span time periods and ably the most important new line of we nd our passion rise to positive mapping, storyboarding, and oblique strategizing. Finally, show us stylistic groupings. The material is thinking in design is the concept of e ect. the outcome of your design process. intended to o er di erent viewpoints user-centeredness, which is at the heart We think small, start local, as small acts For each phase of the design process and the method, describe: rather than draw conclusions about of the design thinking movement. inspire big ideas. We have to be realis- How did you use this method? For how long? What was the design. I hope that discussions begin- Improving human experience by tic, as it is more work than we expect- outcome? Is this method helping you accomplish desired results? ning with “Why Design?” will continue serving business, humanitarian, or ed. We build coalitions, de ne our If you have questions such as “should I do this or that?” the answer further providing a basis for thinking other purposes is the general objective goals, and we measure if they worked. is “yes.” For questions wanting speci c information, the answer is “I about design wherever it is encoun- of design. These ideas are beginning to don’t know.” I can’t wait to see what you come up with! tered. bring unity to design as a discipline.
41_M6: Design Thinking Project
DESIGN AND SOCIETY 28
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- tions control it with the intent of statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental photograph and halftone screens, but toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to and other forms became variable of skills in reading and writing and his with little di culty. This is because experimental, art and design work to expressions of data les. Desktop sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, M10 will address the following topics: about adding value to a product by • The emergence of media arts as an purpose, aesthetics, and the role users changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. • Since designers solve problems and the new mediums and savvy audience, • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest-
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan-
Module 01: Why Design? "Designers are the biggest synthesizers in the world. What they do best is make a synthesis of human needs, current conditions in the economy, in materials, Trends presented in the AIGA Designer in sustainability issues, and then what 2025 document are the guidelines for they do at the end -- if they are good -- the Design and Society course update. is much more than the sum of its parts." The US Bureau of Labor Statistics (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional TED2007) graphic design positions between 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global expects design positions in networked paradigm shift from an industrial communication to grow by 27%. To economy to experience and knowl- address this estimate, the scope of the edge-based economy. The design is a course has to be expanded beyond user-centered innovation process that traditional graphic design, to include can transform products, services, and the complexity of contemporary experiences to enhance business problems, human-centered focus, and competitiveness. Through the design dynamic and interactive systems. innovation process, operational e ciency may be improved, but more This course centers on fteen ques- importantly, the product-service-expe- tions and various activities that prompt rience innovations will value-add to discussions about the nature of design. businesses as they strive to be relevant The questions posed here address to the ever-changing demands. Argu- issues that span time periods and ably the most important new line of stylistic groupings. The material is thinking in design is the concept of intended to o er di erent viewpoints user-centeredness, which is at the heart rather than draw conclusions about of the design thinking movement. design. I hope that discussions begin- Improving human experience by ning with “Why Design?” will continue serving business, humanitarian, or further providing a basis for thinking other purposes is the general objective about design wherever it is encoun- of design. These ideas are beginning to tered. bring unity to design as a discipline.
M7: What is Branding? M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, Agent for Change and Future "A Brand is an idea, not a thing. It is a Experiences “Design is rst and foremost an intel- M.T. Anderson’s novel “Feed” depicts shifting set of perceptions and associa- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular the dystopian society as an outcome of tions that can be in uenced, but not purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They constant consumerist in uence. controlled. Memorable brands, such as plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize Characters receive the continuous Altoids or Starbucks thrive on a coher- Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike ows of advertisements through their ent set of products and a strong, some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s feeds as well as their buyer's education identi able design approach. A tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the from school. The feed itself is consid- successful Brand connects to its pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, ered a tool for education, but corpora- audience on an emotional level, “designer’s statement” is valid too. Its a designer and writer) Electronic media introduced a distinc- tions control it with the intent of representing a feeling, an idea, a way statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- of life." (Mike Weikert, MICA) author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the Brands have been around for centuries, possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers but the idea has become central to our Discussion 07: What is Branding? production, including continuous tone trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental lives since the 1980s. In the last thirty In this exercise, you will use design to shape your own brand, photograph and halftone screens, but toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines years or so, branding has become whether its your team, gallery, or personal hair-cutting service.” all digital les are data, processed and Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide pervasive, reaching into even the 1. Reading “The Brand Called You” article, answer the questions, stored as binary code. Images, text, tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to poorest parts of the planet. Branding and turn your answers into a speci c design objective (“Troy” is a and other forms became variable of skills in reading and writing and his brand that is reliable, strong, and witty) with little di culty. This is because experimental, art and design work to connects ordinary things with a expressions of data les. Desktop sparse vocabulary. This reinforces the 2. Look at the gallery of chairs and ask yourself: If my brand was a they have found a balance of appropri- inform each other. Interdisciplinary broader idea. Coca-Cola is just avored computers o ered designers unprece- idea that critical thinking is not sugared water. It’s the brand that chair, which one would it be? ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. makes it possible to charge for it. 3. Choose a chair and describe it precisely. Describe the design through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional elements and principles. Describe the connotative values. Your the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: M7 will address the following topics: description will be a design brief for your logo design. statement is essential to understand users’ experience and designers’ job. • Has advertising ever been about 4. Visit the Chermaye & Geismar & Haviv’s visual identities site, M12 will address the following topics: • Through branding, generic things like how the designer approaches work. critical thinking? Has it always been detergents, everyday things like soft choose a logo and try to gure out what kind of brand it stands for. M11 will address the following topics: • What are the di erences in context, M10 will address the following topics: about adding value to a product by drinks, and intangible things like 5. What kind of image does the logo project? How is this image • The emergence of media arts as an purpose, aesthetics, and the role users articulated (metaphorical icon, or type of business)? How does the changing our perception? websites acquire personalities and • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? logo convey the brand credibility traits? What kind of type, shapes, • How is advertising changing to suit meanings. How does branding work? history of design manifestos. uid, and inclusive domain. pictorial icons, and the other design elements have been selected? • Since designers solve problems and the new mediums and savvy audience, How do we help to construct brands? 6. What is it about the brand name that stands out? Is it an interest- • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an ing spelling that has been enhanced typographically? • What are the critical behaviors of the voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- future brands (“nextcos”)? 7. If this brand was a person, what kind of person would it be? • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
42_Sample images and discussion for M7: What is Branding?
DESIGN AND SOCIETY 29
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest-
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan-
Module 01: Why Design? "Designers are the biggest synthesizers in the world. What they do best is make a synthesis of human needs, current conditions in the economy, in materials, Trends presented in the AIGA Designer in sustainability issues, and then what 2025 document are the guidelines for they do at the end -- if they are good -- the Design and Society course update. is much more than the sum of its parts." The US Bureau of Labor Statistics (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional TED2007) graphic design positions between 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global expects design positions in networked paradigm shift from an industrial communication to grow by 27%. To economy to experience and knowl- address this estimate, the scope of the edge-based economy. The design is a course has to be expanded beyond user-centered innovation process that traditional graphic design, to include can transform products, services, and the complexity of contemporary experiences to enhance business problems, human-centered focus, and competitiveness. Through the design dynamic and interactive systems. innovation process, operational e ciency may be improved, but more This course centers on fteen ques- importantly, the product-service-expe- tions and various activities that prompt rience innovations will value-add to discussions about the nature of design. businesses as they strive to be relevant The questions posed here address to the ever-changing demands. Argu- issues that span time periods and ably the most important new line of stylistic groupings. The material is thinking in design is the concept of intended to o er di erent viewpoints user-centeredness, which is at the heart rather than draw conclusions about of the design thinking movement. design. I hope that discussions begin- Improving human experience by ning with “Why Design?” will continue serving business, humanitarian, or further providing a basis for thinking other purposes is the general objective about design wherever it is encoun- of design. These ideas are beginning to tered. bring unity to design as a discipline.
M8: What is in a Logo? M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future "To be e ective, a logo must be familiar Agent for Change Experiences “Design is rst and foremost an intel- enough to be recognizable, and “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts unusual enough to be memorable. The purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of design must be simple enough to be plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. read in an instant, and reach enough Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous meaning to be interesting. It must be some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their contemporary enough to re ect the tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education epoch, yet not so much of its time as to pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- appear dated before the decade is out. “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- tions control it with the intent of Finally, it must be memorable and statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- appropriate to the ideas and activities author, and educator) complex and intriguing. The precise “This chair is charming and petite while sturdy and comfortable. Beauty is in the media. In design, analog documents ters are utterly oblivious to the deterio- it represents.” (Chermaye & Geismar) details. It’s formal and not cheap and has elegant lines” by Erin Kaye, Spring 2018. It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the A logo identi es a product, service or current work of some of the most practical design and art. Designers Discussion 08: What is in a Logo? production, including continuous tone trademarked clouds, meat walls, and organization; di erentiates it from notable design contemporaries such whose work embraces experimental 1. Turn your brand personality into a speci c design objective. photograph and halftone screens, but toxic oceans, as a result of their feed. others; communicates information of as James Victore, Experimental Jetset, all digital les are data, processed and design contribute to blurring the lines 2. What is it about the name that stands out? Is it an interesting Most evident of the feed's anti-educa- its origin, value, and quality, and adds or Yves Behar next to each other, you between art and design. As a wide spelling that you could play up typographically? Does it evoke stored as binary code. Images, text, tion objective is main character’s lack value. Power of logos is derived from would be able to pick out each one variety of other practices, pragmatic to strong imagery? and other forms became variable of skills in reading and writing and his the primal urges to belong to a tribe by with little di culty. This is because experimental, art and design work to 3. Develop the design based on your brief. For your logo to have real expressions of data les. Desktop sparse vocabulary. This reinforces the displaying symbols and logotypes that they have found a balance of appropri- inform each other. Interdisciplinary power, you will consider not just what looks good, but what conveys computers o ered designers unprece- idea that critical thinking is not make someone part of a particular the brand credibility traits. ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. social group. 4. Try di erent typefaces. Brush Condensed might be a good choice through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional M13 will address the following topics: M8 will address the following topics: for a cafe with its lighthearted, energetic appeal, but what kind of the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. message would it send for a nancial institution? statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about • The origins and the brief history of 5. Which one of the brand personality traits should be emphasized? how the designer approaches work. critical thinking? Has it always been M11 will address the following topics: logo development, implementation, How will you do it? By incorporating a metaphorical icon into the • What are the di erences in context, about adding value to a product by logo that will connote that attribute, such as an oak tree for strength M10 will address the following topics: and the typology. • The emergence of media arts as an purpose, aesthetics, and the role users changing our perception? or the sun for life? Or perhaps a business symbol? • Basic design principles, common • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? 6. Choose one of the logos (identities) designed by Aaron Draplin. • How is advertising changing to suit errors, and practical step-by-step history of design manifestos. uid, and inclusive domain. • Since designers solve problems and Which ones of the guidelines for the image and representation the new mediums and savvy audience, techniques in image and representa- design from Kevin Mullet’s and Darell Sano’s “Designing Visual • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an tion design. Interfaces” have been applied to this design? Which ones have not voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- • Current trends in logo design. been implemented? How would you improve this? • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
43_Discussion for M8: What is in a Logo?
DESIGN AND SOCIETY 30
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest-
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan-
Module 01: Why Design? "Designers are the biggest synthesizers in the world. What they do best is make a synthesis of human needs, current conditions in the economy, in materials, Trends presented in the AIGA Designer in sustainability issues, and then what 2025 document are the guidelines for they do at the end -- if they are good -- the Design and Society course update. is much more than the sum of its parts." The US Bureau of Labor Statistics (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional TED2007) graphic design positions between 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global expects design positions in networked paradigm shift from an industrial communication to grow by 27%. To economy to experience and knowl- address this estimate, the scope of the edge-based economy. The design is a course has to be expanded beyond user-centered innovation process that traditional graphic design, to include can transform products, services, and the complexity of contemporary experiences to enhance business problems, human-centered focus, and competitiveness. Through the design dynamic and interactive systems. innovation process, operational e ciency may be improved, but more This course centers on fteen ques- importantly, the product-service-expe- tions and various activities that prompt rience innovations will value-add to discussions about the nature of design. businesses as they strive to be relevant The questions posed here address to the ever-changing demands. Argu- issues that span time periods and ably the most important new line of stylistic groupings. The material is thinking in design is the concept of intended to o er di erent viewpoints user-centeredness, which is at the heart rather than draw conclusions about of the design thinking movement. design. I hope that discussions begin- Improving human experience by ning with “Why Design?” will continue serving business, humanitarian, or further providing a basis for thinking other purposes is the general objective about design wherever it is encoun- of design. These ideas are beginning to tered. bring unity to design as a discipline.
M9: The Power of Typography M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future “Typography is the use of type to Agent for Change Experiences “Design is rst and foremost an intel- advocate, communicate, celebrate, “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts educate, elaborate, illuminate, and purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of disseminate. Along the way, the words plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. and pages become art.” (James Felici, Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous The Complete Manual of Typography) some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their feeds as well as their buyer's education “Typography is what the language tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the from school. The feed itself is consid- looks like” is a famous quote by Ellen pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, ered a tool for education, but corpora- Lupton. Letters are necessary to “designer’s statement” is valid too. Its a designer and writer) Electronic media introduced a distinc- tions control it with the intent of materialize language which without statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- letters is eeting. It exists, but the author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- moment you said it, it is gone, and we It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the don’t have any records of it. For the current work of some of the most practical design and art. Designers Discussion 09: The Power of Typography production, including continuous tone trademarked clouds, meat walls, and most of the history, people have been notable design contemporaries such whose work embraces experimental Using the fteen rules of typography, analyze typesetting of "The photograph and halftone screens, but toxic oceans, as a result of their feed. speaking but not writing. From the as James Victore, Experimental Jetset, design contribute to blurring the lines Best of the Bay Area 2009" spread. all digital les are data, processed and Most evident of the feed's anti-educa- cave walls to the in nite pages of the or Yves Behar next to each other, you between art and design. As a wide List the fteen rules. You do not have to include the explanations of stored as binary code. Images, text, tion objective is main character’s lack internet, typography has come a long would be able to pick out each one variety of other practices, pragmatic to the rules. Follow the format below. Point to the location and asses if and other forms became variable of skills in reading and writing and his way. Since the 15th century when with little di culty. This is because experimental, art and design work to the rule was applied or not. Use the professional vocabulary includ- expressions of data les. Desktop sparse vocabulary. This reinforces the Johannes Gutenberg rst developed ing a headline, text type, pull quote, line length, leading, etc. they have found a balance of appropri- inform each other. Interdisciplinary computers o ered designers unprece- idea that critical thinking is not moveable type, through the Industrial Rule 1: For optimum legibility, choose classical, time-tested typefac- ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. Revolution, until the Digital Revolution, es. Followed or Broken. Explain why or why not. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional typography allowed us to create Followed. All of the typefaces used in the article are classical and legible. the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: memories and histories. Rule 2: Be mindful not to use too many di erent typefaces at any one statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about time. Followed or Broken. Explain why or why not. how the designer approaches work. critical thinking? Has it always been M9 will address the following topics: M11 will address the following topics: • What are the di erences in context, Followed. While there are a few di erent typefaces, the text is not about adding value to a product by • The cultural roots of typography, and M10 will address the following topics: purpose, aesthetics, and the role users distracting or confusing. There is enough di erence to create emphasis • The emergence of media arts as an changing our perception? how typography in uences society. • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? and separate what needs to be separated without being chaotic. • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. • Connotation (expressive side) and Continue until the application, or the lack of application of all fteen • Since designers solve problems and the new mediums and savvy audience, rules is explained. denotation (functional side) of typog- • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an raphy. After you complete the observation and analysis, write a brief voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- paragraph with your recommendations for improvement. • The basic rules of typography. • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
44_Sample image and discussion for M9: The Power of Typography
DESIGN AND SOCIETY 31
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest-
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan-
Module 01: Why Design? "Designers are the biggest synthesizers in the world. What they do best is make a synthesis of human needs, current conditions in the economy, in materials, Trends presented in the AIGA Designer in sustainability issues, and then what 2025 document are the guidelines for they do at the end -- if they are good -- the Design and Society course update. is much more than the sum of its parts." The US Bureau of Labor Statistics (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional TED2007) graphic design positions between 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global expects design positions in networked paradigm shift from an industrial communication to grow by 27%. To economy to experience and knowl- address this estimate, the scope of the edge-based economy. The design is a course has to be expanded beyond user-centered innovation process that traditional graphic design, to include can transform products, services, and the complexity of contemporary experiences to enhance business problems, human-centered focus, and competitiveness. Through the design dynamic and interactive systems. innovation process, operational e ciency may be improved, but more This course centers on fteen ques- importantly, the product-service-expe- tions and various activities that prompt rience innovations will value-add to discussions about the nature of design. businesses as they strive to be relevant The questions posed here address to the ever-changing demands. Argu- issues that span time periods and ably the most important new line of stylistic groupings. The material is thinking in design is the concept of intended to o er di erent viewpoints user-centeredness, which is at the heart rather than draw conclusions about of the design thinking movement. design. I hope that discussions begin- Improving human experience by ning with “Why Design?” will continue serving business, humanitarian, or further providing a basis for thinking other purposes is the general objective about design wherever it is encoun- of design. These ideas are beginning to tered. bring unity to design as a discipline.
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- statement of principles.” (Steve Heller, tions control it with the intent of tion between physical and digital The line between art and design is author, and educator) Erin Kaye, Spring 2018. creating consumer pro les. The charac- media. In design, analog documents complex and intriguing. The precise Yves Béhar’s award-winning packaging, furniture, electronics, and medicinal design ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers Discussion 10: Vision, Voice, and Change production, including continuous tone trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental Once you read about the meaning and importance of designers’ photograph and halftone screens, but toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines vision, voice and ideas of design as an agent of change, please all digital les are data, processed and Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide answers the following questions: stored as binary code. Images, text, tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to 1. Why is designer’s vision important? How do young designers and other forms became variable of skills in reading and writing and his with little di culty. This is because experimental, art and design work to develop their vision? expressions of data les. Desktop sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary 2. How would you describe the designers’ voice? How do designers computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas develop their voice? dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. through their own lens of how they see 3. What does it mean for a designer to be an agent for change? of design production. Digital technolo- the boundaries challenge traditional M13 will address the following topics: the world. In this argument, a design 4. Do design concepts and tools have power to be used to a ect gy brought a fundamental change in de nitions of art and design. statement is essential to understand positive changes in some aspect of life? Give us speci c examples. users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. 5. Do you agree that the designer needs to take a role as an agent critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, of change? Why or why not? about adding value to a product by M10 will address the following topics: purpose, aesthetics, and the role users 6. Visit the AIGA Medalists website and choose ve designers that • The emergence of media arts as an changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? caught your attention. Insert examples of their work. What did you • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. like /dislike about their work? • Since designers solve problems and the new mediums and savvy audience, • The power of designers‘ vision & 7 Choose one of the ve designers and describe their Voice, Vision • How the concepts of integration, • create products that serve their users, the transition from a passive to an and ideas about Change. Please be very speci c, submit examples voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- of their work to clarify your point. • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
45_Sample images and discussion for M10: Vision, Voice, and Change
DESIGN AND SOCIETY 32
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest-
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan-
Module 01: Why Design? "Designers are the biggest synthesizers in the world. What they do best is make a synthesis of human needs, current conditions in the economy, in materials, Trends presented in the AIGA Designer in sustainability issues, and then what 2025 document are the guidelines for they do at the end -- if they are good -- the Design and Society course update. is much more than the sum of its parts." The US Bureau of Labor Statistics (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional TED2007) graphic design positions between 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global expects design positions in networked paradigm shift from an industrial communication to grow by 27%. To economy to experience and knowl- address this estimate, the scope of the edge-based economy. The design is a course has to be expanded beyond user-centered innovation process that traditional graphic design, to include can transform products, services, and the complexity of contemporary experiences to enhance business problems, human-centered focus, and competitiveness. Through the design dynamic and interactive systems. innovation process, operational e ciency may be improved, but more This course centers on fteen ques- importantly, the product-service-expe- tions and various activities that prompt rience innovations will value-add to discussions about the nature of design. businesses as they strive to be relevant The questions posed here address to the ever-changing demands. Argu- issues that span time periods and ably the most important new line of stylistic groupings. The material is thinking in design is the concept of intended to o er di erent viewpoints user-centeredness, which is at the heart rather than draw conclusions about of the design thinking movement. design. I hope that discussions begin- Improving human experience by ning with “Why Design?” will continue serving business, humanitarian, or further providing a basis for thinking other purposes is the general objective about design wherever it is encoun- of design. These ideas are beginning to tered. bring unity to design as a discipline.
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- statement of principles.” (Steve Heller, tions control it with the intent of tion between physical and digital The line between art and design is author, and educator) Erin Kaye, Spring 2018. creating consumer pro les. The charac- media. In design, analog documents complex and intriguing. The precise Concepts from Ken Jordan’s and Randall Packer’s "From Wagner to Virtual Reality." ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone Discussion 11: Bridging Physical and Digital trademarked clouds, meat walls, and notable design contemporaries such photograph and halftone screens, but whose work embraces experimental Once you read the Module Eleven and watch the Wagner to Virtual toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and Reality website, please answer the following questions: Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, 1. Digital technology brought a fundamental change in users’ tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to and other forms became variable experience and designers’ tasks and knowledge. Give us an of skills in reading and writing and his with little di culty. This is because experimental, art and design work to expressions of data les. Desktop example that you nd particularly signi cant. sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary computers o ered designers unprece- 2. In your opinion, did experimental typographic design by David idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect Carson in the 1990s have a positive impact? Why, or why not? practice, critical thinking, and testing in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- 3. What are the ve key concepts intrinsic to digital forms of the boundaries challenge traditional the world. In this argument, a design gy brought a fundamental change in multimedia introduced by Ken Jordan and Randall Packer in “From de nitions of art and design. M13 will address the following topics: statement is essential to understand users’ experience and designers’ job. Wagner to Virtual Reality” ? Explain one of the concepts and explain M12 will address the following topics: • Has advertising ever been about how the designer approaches work. how it changed users’ experience. critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, M10 will address the following topics: 4. Visit the Wagner to Virtual Reality website and choose ve about adding value to a product by • The emergence of media arts as an Pioneers that in your opinion contributed strongly to the develop- purpose, aesthetics, and the role users changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, ment of multimedia. What is the main contribution each one gave play in the process? • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. to the eld? • Since designers solve problems and the new mediums and savvy audience, 2. Choose one of the ve Pioneers and describe the multimedia • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an concepts they developed. Please be very speci c, submit examples voice. is design, unlike art, only about the interactivity, hypermedia, immersion, of their work to clarify your point. active consumer, the rise of user-gen- • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
46_Discussion for M11: Bridging Physical and Digital
DESIGN AND SOCIETY 33
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest-
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan-
Module 01: Why Design? "Designers are the biggest synthesizers in the world. What they do best is make a synthesis of human needs, current conditions in the economy, in materials, Trends presented in the AIGA Designer in sustainability issues, and then what 2025 document are the guidelines for they do at the end -- if they are good -- the Design and Society course update. is much more than the sum of its parts." The US Bureau of Labor Statistics (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional TED2007) graphic design positions between 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global expects design positions in networked paradigm shift from an industrial communication to grow by 27%. To economy to experience and knowl- address this estimate, the scope of the edge-based economy. The design is a course has to be expanded beyond user-centered innovation process that traditional graphic design, to include can transform products, services, and the complexity of contemporary experiences to enhance business problems, human-centered focus, and competitiveness. Through the design dynamic and interactive systems. innovation process, operational e ciency may be improved, but more This course centers on fteen ques- importantly, the product-service-expe- tions and various activities that prompt rience innovations will value-add to discussions about the nature of design. businesses as they strive to be relevant The questions posed here address to the ever-changing demands. Argu- issues that span time periods and ably the most important new line of stylistic groupings. The material is thinking in design is the concept of intended to o er di erent viewpoints user-centeredness, which is at the heart rather than draw conclusions about of the design thinking movement. design. I hope that discussions begin- Improving human experience by ning with “Why Design?” will continue serving business, humanitarian, or further providing a basis for thinking other purposes is the general objective about design wherever it is encoun- of design. These ideas are beginning to tered. bring unity to design as a discipline.
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- statement of principles.” (Steve Heller, tions control it with the intent of tion between physical and digital The line between art and design is author, and educator) creating consumer pro les. The charac- media. In design, analog documents complex and intriguing. The precise Urs Fischer’s “Frozen Pioneer,” and James Dyson’s Vacuum Cleaner ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone Discussion 12: Design Is Not an Art Form trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental photograph and halftone screens, but 1. Read the Module Twelve, and present one of the quotes that toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and explain the di erence between art and design that you agree with, Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, one you disagree with and tell your point. tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to and other forms became variable 2. What do you think about James Dyson’s work? He is a designer, of skills in reading and writing and his with little di culty. This is because experimental, art and design work to expressions of data les. Desktop who has a product that solves problems. His products have also sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary been in many museums such as the MOMA in New York. What do computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing you think about the design that is shown in museums? in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional 3. Can you give us examples of design that does aspire to touch the the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. soul? I can’t think of any piece of design that would equal the M13 will address the following topics: soulful, human and emotional response of say, Hendrix’s “Manic statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. Depression” or Leonard Cohen’s “Hallelujah." critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, 4. Visit Urs Fischer’s website and look at the sculptures “Horses about adding value to a product by M10 will address the following topics: Dream of Horses” and “Frozen Pioneer.” • The emergence of media arts as an purpose, aesthetics, and the role users changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? • If you were a collector of high art, what would you think about a • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. sculpture of the raindrops? • Since designers solve problems and the new mediums and savvy audience, • What do you think artist Urs Fischer is telling us about the • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, common, household objects/furniture pieces? the transition from a passive to an voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- 5. What is the di erence between Design and Art? • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
47_Discussion for M12: Design Is Not an Art Form
DESIGN AND SOCIETY 34
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest-
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan-
Module 01: Why Design? "Designers are the biggest synthesizers in the world. What they do best is make a synthesis of human needs, current conditions in the economy, in materials, Trends presented in the AIGA Designer in sustainability issues, and then what 2025 document are the guidelines for they do at the end -- if they are good -- the Design and Society course update. is much more than the sum of its parts." The US Bureau of Labor Statistics (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional TED2007) graphic design positions between 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global expects design positions in networked paradigm shift from an industrial communication to grow by 27%. To economy to experience and knowl- address this estimate, the scope of the edge-based economy. The design is a course has to be expanded beyond user-centered innovation process that traditional graphic design, to include can transform products, services, and the complexity of contemporary experiences to enhance business problems, human-centered focus, and competitiveness. Through the design dynamic and interactive systems. innovation process, operational e ciency may be improved, but more This course centers on fteen ques- importantly, the product-service-expe- tions and various activities that prompt rience innovations will value-add to discussions about the nature of design. businesses as they strive to be relevant The questions posed here address to the ever-changing demands. Argu- issues that span time periods and ably the most important new line of stylistic groupings. The material is thinking in design is the concept of intended to o er di erent viewpoints user-centeredness, which is at the heart rather than draw conclusions about of the design thinking movement. design. I hope that discussions begin- Improving human experience by ning with “Why Design?” will continue serving business, humanitarian, or further providing a basis for thinking other purposes is the general objective about design wherever it is encoun- of design. These ideas are beginning to tered. bring unity to design as a discipline.
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- tions control it with the intent of statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- This advergame, starring the Pepsi mascot Pepsiman, was a platformer released in It is very likely that if you placed line could be drawn between the Japan for the original Playstation in 1999. possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone trademarked clouds, meat walls, and Discussion 13: Advertising's Past, Present, and Future notable design contemporaries such photograph and halftone screens, but whose work embraces experimental toxic oceans, as a result of their feed. 1. Which one of the examples discussed in Module 13 describes as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and Most evident of the feed's anti-educa- advertising most accurately in your opinion? or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, tion objective is main character’s lack 2. Visit Ads of the World and Clio Awards websites. Search for two would be able to pick out each one variety of other practices, pragmatic to and other forms became variable of skills in reading and writing and his examples that best re ect your understanding of the purpose and with little di culty. This is because experimental, art and design work to expressions of data les. Desktop sparse vocabulary. This reinforces the use of advertising. Please describe both examples and explain what they have found a balance of appropri- inform each other. Interdisciplinary makes them signi cant. computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing 3. Explain the concepts: false advertising, perception management, in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional guerilla marketing, and product placement. Present and describe the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: examples from your experience. 4. Is advertising necessary for the economic growth? What advertis- statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. critical thinking? Has it always been ing clients, other than the pro t-generating corporations frequent- M11 will address the following topics: • What are the di erences in context, ly spend large sums of money on advertising? Why do you think M10 will address the following topics: about adding value to a product by • The emergence of media arts as an purpose, aesthetics, and the role users some organizations advertise more than the others - for instance changing our perception? political parties versus public education? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? • How is advertising changing to suit 5. What is the signi cance of Bill Bernbach’s Volkswagen campaign? history of design manifestos. uid, and inclusive domain. • Since designers solve problems and the new mediums and savvy audience, 6. What role does the Adbusters magazine play in regards to the • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an public perception of advertising today? voice. is design, unlike art, only about the interactivity, hypermedia, immersion, active consumer, the rise of user-gen- 7. How do you see the future of advertising? • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
48_Sample images and discussion for M8: What is in a Logo?
DESIGN AND SOCIETY 35
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci and ethically responsible has never Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, do: allow a convergence of new and individuals acknowledge that a technologies to create a new move- change in attitude to the way we ment that cuts across the disciplines. In design products, spaces, communica- his article “Can design advance science, tions, and communities is a positive and can science advance design?” step and long overdue. Our under- Joichi Ito, director of the MIT Media standing of sustainable design has Lab, wrote: “I believe that by bringing transformed, shifting from being about together design and science we can risk and compliance to a produce a rigorous but exible dynamic leadership issue. approach that allows us to explore, M15 will address the following topics: understand and contribute to science • What are the parameters of good in an antidisciplinary way.” design in an unsustainable age? M14 will address the following topics: • What kind of knowledge, skills, • The impact of Cybernetics Move- and con dence do designers need ment on the contemporary culture. to implement these principles and • Can design advance science, and can become more e ective agents of science advance design? change? their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest-
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan-
Module 01: Why Design? "Designers are the biggest synthesizers in the world. What they do best is make a synthesis of human needs, current conditions in the economy, in materials, Trends presented in the AIGA Designer in sustainability issues, and then what 2025 document are the guidelines for they do at the end -- if they are good -- the Design and Society course update. is much more than the sum of its parts." The US Bureau of Labor Statistics (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional TED2007) graphic design positions between 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global expects design positions in networked paradigm shift from an industrial communication to grow by 27%. To economy to experience and knowl- address this estimate, the scope of the edge-based economy. The design is a course has to be expanded beyond user-centered innovation process that traditional graphic design, to include can transform products, services, and the complexity of contemporary experiences to enhance business problems, human-centered focus, and competitiveness. Through the design dynamic and interactive systems. innovation process, operational e ciency may be improved, but more This course centers on fteen ques- importantly, the product-service-expe- tions and various activities that prompt rience innovations will value-add to discussions about the nature of design. businesses as they strive to be relevant The questions posed here address to the ever-changing demands. Argu- issues that span time periods and ably the most important new line of stylistic groupings. The material is thinking in design is the concept of intended to o er di erent viewpoints user-centeredness, which is at the heart rather than draw conclusions about of the design thinking movement. design. I hope that discussions begin- Improving human experience by ning with “Why Design?” will continue serving business, humanitarian, or further providing a basis for thinking other purposes is the general objective about design wherever it is encoun- of design. These ideas are beginning to tered. bring unity to design as a discipline.
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- tions control it with the intent of statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental photograph and halftone screens, but toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to and other forms became variable of skills in reading and writing and his with little di culty. This is because experimental, art and design work to expressions of data les. Desktop sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, M10 will address the following topics: about adding value to a product by • The emergence of media arts as an purpose, aesthetics, and the role users changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. • Since designers solve problems and the new mediums and savvy audience, • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable including MIT Media Lab, UCLA Art|Sci Brainbow by Department of Biology at Harvard University is the process by which and ethically responsible has never neurons in the brain are agged using uorescent proteins of distinctive color. Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to Discussion 14: Design for Science tions, research centers, governments, do: allow a convergence of new 1. What was the impact of the Cybernetics Movement on the and individuals acknowledge that a technologies to create a new move- contemporary culture? Explain using the work of one of the change in attitude to the way we scientists mentioned in the module, or in the Wagner to Virtual ment that cuts across the disciplines. In design products, spaces, communica- Reality site (http://www.w2vr.com/contents.html) his article “Can design advance science, tions, and communities is a positive 2. Choose one of the examples of work discussed in Module 14 that step and long overdue. Our under- and can science advance design?” you nd fascinating and answer the question “Can design advance standing of sustainable design has Joichi Ito, director of the MIT Media science, and can science advance design?” transformed, shifting from being about Lab, wrote: “I believe that by bringing 3. Visit the Design and the Elastic Mind exhibition companion together design and science we can website. Search for a minimum of two examples that best re ect risk and compliance to a produce a rigorous but exible your understanding of the relationship between design and dynamic leadership issue. approach that allows us to explore, science. Please describe both examples and explain what makes M15 will address the following topics: them signi cant for you. understand and contribute to science • What are the parameters of good 4. Visit the MIT Media Lab website. Explore the research elds that in an antidisciplinary way.” design in an unsustainable age? spark your interest, choose one research project and describe it. M14 will address the following topics: 6. Visit the UCLA Art|Sci Center, explore the showcased research • What kind of knowledge, skills, • The impact of Cybernetics Move- projects, choose one of them and describe it. and con dence do designers need ment on the contemporary culture. 7. How do you see the future of the relationship between design to implement these principles and • Can design advance science, and can and science? become more e ective agents of science advance design? change?
49_Sample images and discussion for M14: Design for Science
DESIGN AND SOCIETY 36 their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest-
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan-
Module 01: Why Design? "Designers are the biggest synthesizers in the world. What they do best is make a synthesis of human needs, current conditions in the economy, in materials, Trends presented in the AIGA Designer in sustainability issues, and then what 2025 document are the guidelines for they do at the end -- if they are good -- the Design and Society course update. is much more than the sum of its parts." The US Bureau of Labor Statistics (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional TED2007) graphic design positions between 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global expects design positions in networked paradigm shift from an industrial communication to grow by 27%. To economy to experience and knowl- address this estimate, the scope of the edge-based economy. The design is a course has to be expanded beyond user-centered innovation process that traditional graphic design, to include can transform products, services, and the complexity of contemporary experiences to enhance business problems, human-centered focus, and competitiveness. Through the design dynamic and interactive systems. innovation process, operational e ciency may be improved, but more This course centers on fteen ques- importantly, the product-service-expe- tions and various activities that prompt rience innovations will value-add to discussions about the nature of design. businesses as they strive to be relevant The questions posed here address to the ever-changing demands. Argu- issues that span time periods and ably the most important new line of stylistic groupings. The material is thinking in design is the concept of intended to o er di erent viewpoints user-centeredness, which is at the heart rather than draw conclusions about of the design thinking movement. design. I hope that discussions begin- Improving human experience by ning with “Why Design?” will continue serving business, humanitarian, or further providing a basis for thinking other purposes is the general objective about design wherever it is encoun- of design. These ideas are beginning to tered. bring unity to design as a discipline.
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- tions control it with the intent of statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental photograph and halftone screens, but toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to and other forms became variable of skills in reading and writing and his with little di culty. This is because experimental, art and design work to expressions of data les. Desktop sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, M10 will address the following topics: about adding value to a product by • The emergence of media arts as an purpose, aesthetics, and the role users changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. • Since designers solve problems and the new mediums and savvy audience, • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
M14: Design for Science M15: Design for the Next Economy “One of design’s most fundamental “Frankly I wonder whether humans tasks is to help people deal with deserve a position in a thriving econo- change. Designers stand between my. Given our résumé as a species, who revolutions and everyday life. Design- would hire us? Any wise, skeptical alien ers can grasp momentous changes in would notice that plankton, grass, ants, technology, science, and social mores and termites all do a much better job and convert them into objects and at saving Earth than humans.” (Bruce ideas that people can understand and Sterling, “Are we worthy?”) use.” (Paula Antonelli) Design shapes, modi es and alters the In many ways, the cybernetics move- world for better or worse, and the need ment is a model for what institutions for modern design to be sustainable Erin Kaye, Spring 2018. and ethically responsible has never Natalie Jeremijenko’s NoPark reengineered “no parking zones” — mostly those including MIT Media Lab, UCLA Art|Sci associated re hydrant placement — and transform them into green spaces. Center, and Systems Research Group at been more important. Many corpora- the Royal College of Art are trying to tions, research centers, governments, Discussion 15: Design for the Next Economy do: allow a convergence of new and individuals acknowledge that a 1. Once you read Module Fifteen: Design for the Next Economy, revisit the opening quote by Bruce Sterling and give us your technologies to create a new move- change in attitude to the way we informed opinion about it. ment that cuts across the disciplines. In design products, spaces, communica- 2. Choose a project presented in the module that best re ects your his article “Can design advance science, tions, and communities is a positive step and long overdue. Our under- understanding of design for the next economy. Analyze it and and can science advance design?” explain what makes them signi cant. standing of sustainable design has Joichi Ito, director of the MIT Media 3. Choose a project presented in the module that least re ect your transformed, shifting from being about Lab, wrote: “I believe that by bringing understanding of design as an agent of change. Analyze it and together design and science we can risk and compliance to a explain what makes them signi cant. produce a rigorous but exible dynamic leadership issue. 4. Watch “The Story of Stu “ (21:24 min) movie. List and explain one approach that allows us to explore, M15 will address the following topics: argument you agree with, and one you disagree with. understand and contribute to science • What are the parameters of good 5. Read “1000 Words: A Manifesto for Sustainability in Design“ by in an antidisciplinary way.” design in an unsustainable age? Allan Chochinov, review his rules that spark your interest and give us examples that follow and/or break that rule. M14 will address the following topics: • What kind of knowledge, skills, 6. Some designers may be dreamers, like James Victore who says • The impact of Cybernetics Move- and con dence do designers need “I still believe that design can change the world.” Others, like David ment on the contemporary culture. to implement these principles and Carson who says “Graphic design will save the world right after rock • Can design advance science, and can become more e ective agents of and roll does.” may be sarcastic. Do you see design as an agent of change? Why, or why not? Please be as elaborate as you wish. science advance design? change?
50_Sample images and discussion for M15: Design for the Next Economy
DESIGN AND SOCIETY 37 their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest-
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan-
Module 01: Why Design? "Designers are the biggest synthesizers in the world. What they do best is make a synthesis of human needs, current conditions in the economy, in materials, Trends presented in the AIGA Designer in sustainability issues, and then what 2025 document are the guidelines for they do at the end -- if they are good -- the Design and Society course update. is much more than the sum of its parts." The US Bureau of Labor Statistics (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional TED2007) graphic design positions between 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global expects design positions in networked paradigm shift from an industrial communication to grow by 27%. To economy to experience and knowl- address this estimate, the scope of the edge-based economy. The design is a course has to be expanded beyond user-centered innovation process that traditional graphic design, to include can transform products, services, and the complexity of contemporary experiences to enhance business problems, human-centered focus, and competitiveness. Through the design dynamic and interactive systems. innovation process, operational e ciency may be improved, but more This course centers on fteen ques- importantly, the product-service-expe- tions and various activities that prompt rience innovations will value-add to discussions about the nature of design. businesses as they strive to be relevant The questions posed here address to the ever-changing demands. Argu- issues that span time periods and ably the most important new line of stylistic groupings. The material is thinking in design is the concept of intended to o er di erent viewpoints user-centeredness, which is at the heart rather than draw conclusions about of the design thinking movement. design. I hope that discussions begin- Improving human experience by ning with “Why Design?” will continue serving business, humanitarian, or further providing a basis for thinking other purposes is the general objective about design wherever it is encoun- of design. These ideas are beginning to tered. bring unity to design as a discipline.
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- tions control it with the intent of statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental photograph and halftone screens, but toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to and other forms became variable of skills in reading and writing and his with little di culty. This is because experimental, art and design work to expressions of data les. Desktop sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, M10 will address the following topics: about adding value to a product by • The emergence of media arts as an purpose, aesthetics, and the role users changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. • Since designers solve problems and the new mediums and savvy audience, • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
M14: Design for Science M15: Design for the Next Economy DESIGN AND SOCIETY AIGA DESIGNER 2025 • John Maeda. “The Laws of Simplicity: Oriented Techniques.” Prentice Hall, “Frankly I wonder whether humans Design, Technology, Business.” The MIT 1994. “One of design’s most fundamental Resources • AIGA. “Why Design Education Should deserve a position in a thriving econo- Press, 2005. tasks is to help people deal with Pay Attention to Trends.” Aug 21, 2017. • Chris Chapin . “Vision & Voice: Design my. Given our résumé as a species, who change. Designers stand between https://educators.aiga.org/wp-con- • John Maeda. “The Laws of Simplicity: Education as Agent for Change.” Apr would hire us? Any wise, skeptical alien revolutions and everyday life. Design- tent/uploads/2017/08/DESIGN- Design, Technology, Business.” The MIT 24, 2006. https://www.aiga.org/vi- would notice that plankton, grass, ants, ers can grasp momentous changes in IMPACT: STRATEGIES FOR CREATIVE ER-2025-SUMMARY.pdf, May 20, 2018. sion--voice-design-education- and termites all do a much better job • Adolf Loos . “Ornament and Crime.” technology, science, and social mores INTERVENTION as-agent-for-change, May 20, 2018. at saving Earth than humans.” (Bruce • Emily Gosling. “What Will A Designer Ariadne Pr; UK ed, 1997. and convert them into objects and • Mark Randall. “Impact: Strategies for Sterling, “Are we worthy?”) + Their Job Look Like in 2025?” • Alice Twemlow, Denise Gonzalez Crisp, • Randall Packer. “Multimedia: From ideas that people can understand and Creative Intervention.” http://im- Oct 25, 2017, https://eyeondesign.ai- Marian Bantjes, Daniël van der Velden, Wagner to Virtual Reality.” WW Norton use.” (Paula Antonelli) Design shapes, modi es and alters the pact.sva.edu, May 20, 2018. ga.org/what-will-a-design-job- and Maureen Mooren. “The decriminali- & Co, 2003. In many ways, the cybernetics move- world for better or worse, and the need • Mark Randall. ”Worldstudio.” in-2025-look-like, May. 20, 2018. sation of ornament.” Winter 2005. • Michael Worthington, Geo ment is a model for what institutions for modern design to be sustainable http://worldstudioinc.com, May 20, 2018. http://www.eyemagazine.com/fea- McFetridge, Ed Fella, and Jamer Hunt. including MIT Media Lab, UCLA Art|Sci and ethically responsible has never DESIGN AND SOCIETY 2018 ture/article/the-decriminalisa- ”Two Lines Align (Drawings & Graphic Center, and Systems Research Group at been more important. Many corpora- • Mark Randall. “Design Ignites Change.” • David W. Orr. “The Nature of Design: tions, research centers, governments, http://www.designigniteschange.org, tion-of-ornament-full-text, May 20, 2018. Design).” REDCAT, 2008. the Royal College of Art are trying to Ecology, Culture, and Human Inten- do: allow a convergence of new and individuals acknowledge that a May 20, 2018. tion.” Oxford University Press, 2004. • Tim Brown. “Change by Design: How • Hugh Aldersey-Williams, Peter Hall, technologies to create a new move- change in attitude to the way we Design Thinking Transforms Organiza- Ted Sargent, and Paola Antonelli. • Dr. Mariana Amatullo. “Designmatters.” • Tad Toulis. “UGLY: How Unorthodox ment that cuts across the disciplines. In design products, spaces, communica- tions and Inspires Innovation.” Harper- “Design and the Elastic Mind.” The https://designmattersatartcenter.org, Thinking Will Save Design.” Oct 30, his article “Can design advance science, tions, and communities is a positive Business, 2009. Museum of Modern Art, 2008. May 20, 2018. 2008, http://www.core77.com/posts/ and can science advance design?” step and long overdue. Our under- DESIGN THINKING 11563/UGLY-How-Unorthodox-Think- • Ezio Manzini. “Design, When Everybody • Alice Rawsthorn and Clément Dirié. Joichi Ito, director of the MIT Media standing of sustainable design has ing-Will-Save-Design-by-Tad-Toulis, Designs: An Introduction to Design for “Design as an Attitude.” Jrp Ringier, 2018 Lab, wrote: “I believe that by bringing transformed, shifting from being about • Stanford d.school. “A Virtual Crash May, 20, 2018. Social Innovation.” The MIT Press, 2015 • Ian Albinson, Rob Giampietro, Jeremy together design and science we can risk and compliance to a Course in Design Thinking.” • AnnMarie Thomas. “Making Makers: Leslie, Alexander Ulloa, Armin Vit , produce a rigorous but exible dynamic leadership issue. https://dschool.stanford.edu/resourc- • Yuriko Saito . “Everyday Aesthetics.” Kids, Tools, and the Future of Innovation.” Andrew Blauvelt, Ellen Lupton (Editor), approach that allows us to explore, M15 will address the following topics: es-collections/a-virtual-crash- course- Oxford University Press, 2010. Maker Media, Inc, 2014 Steven Heller, and Peter Hall. “Graphic understand and contribute to science • What are the parameters of good in-design-thinking, May 20, 2018. • Daniel Chandler. “Semiotics: The Design: Now In Production.” , Walker Art in an antidisciplinary way.” design in an unsustainable age? • Sarah Gibbons. “Design Thinking 101.” Basics.” Routledge, 2007. • Tina Seelig. “inGenius: A Crash Course on Creativity.” HarperOne, 2015 Center2011. M14 will address the following topics: • What kind of knowledge, skills, July 31, 2016, https://www.nn- • Don Norman. “Emotional Design: • John Thackara. “How to Thrive in the • The impact of Cybernetics Move- and con dence do designers need group.com/articles/design-thinking, Why We Love (or Hate) Everyday • Robert Jones. “Branding: A Very Short Next Economy: Designing Tomorrow's ment on the contemporary culture. to implement these principles and May 20, 2018. Things.” Basic Books, 2005. Introduction.” Oxford University Press, World Today.” Thames & Hudson, 2017. become more e ective agents of 2017. • Can design advance science, and can • David Kelley.”Design Thinking - IDEO U.” • Jonathan Chapman. “Emotionally change? science advance design? https://www.ideou.com/pages/de- Durable Design: Objects, Experiences • Kevin Mullet and Darrell Sano. “Desig- sign-thinking, May 20, 2018. and Empathy.” Routledge, 2005. ning Visual Interfaces: Communication
DESIGN AND SOCIETY 38 their partner win the debate, but few things stayed with you (ah, that is support their partner gain better impressive) and went beyond tactical experience and redesign that experi- to an emotional territory. Seek emo- ence so that next time they encounter tions, and the goal should be to get the opposing view, it becomes a better your partner to cry within next 4 Design thinking utilizes elements from experience for them and hopefully for minutes - you will know you are really the designer's toolkit like empathy and their counterpart as well. onto something. The worst thing they experimentation to arrive at innovative can say is “I am not comfortable talking Two persons sitting next to each other solutions. By using design thinking, we about this” make decisions based on what future will be partners. Partner A will ask B interviews A (4 minutes) clients want instead of relying only on partner B about the last encounter historical data or making risky bets with the opposing view. It will be 3: Capture Findings (3 minutes) fast-paced, rushed, the point is to get based on instinct instead of evidence. Take a moment for more individual through the whole cycle. The design thinking project below was re ection, less engaging with your assigned to the Design and Society PHASE TWO: DEFINE partner, more re ecting on your class, and the Multicultural Day “Gray 1: Interview conversation. Needs are the things Matters.” workshop: your partner is trying to accomplish. A interviews B (4 minutes): What is your Design Thinking Project: Redesign your They are trying to express themselves, partner trying to accomplish by partner’s experience of encountering be appreciated, try to feel important, encountering the opposing views: be the opposing views. those are all verb-based. Your partner appreciated, feel important, bully their may get emotionally overwhelmed by PHASE ONE: EMPATHIZE opponents, they think that their their opponent's views, or that their Participants are invited to think about opinions are much more valuable than experience is more about their emo- their last encounter with the opposing the opponent's views, or enjoy learn- tions than their opinions, just catalog view, everything from releasing that ing about the di erent aspects. You are them, have some creative leaps. they do not share the expressed not looking for the bug list, but trying opinion, to questioning their point of to understand the entirety of their 4: Problem Statement (3 minutes) view, to de ning their point of view, to experience. Dig in, ask questions, but What we want to do now is move from communicating it, debating it, losing try to get their motivation, After 4 the left to the right side of the page the debate, winning the debate, minutes you will switch roles. and articulate the problem statement. receiving thanks or not - all that is their B interviews A (4 minutes) This is your unique statement of the experience. Participants will redesign problem based on the empathy for 2: Dig deeper their partner’s experience of encoun- your partner. Look at the left side, at tering the opposing views. Not help A interviews B (4 minutes): Hopefully, the list of needs, nd the most interest-
nels they use, and how they represent nding patterns in big data, discerning ing one and plug it into the right-hand can say all bad things. The reason you the hands of your user. way, that when you are stuck, you have Trend: Aggregation and Curation are showing the sketches to your user di erent instincts. themselves with various stakeholders. underlying stories, and customizing side. Same for the insights, plug them 9: Build your solution and get feedback Third parties assemble and re-present is to get their feedback and decide in - Have empathy Work in today’s successful organiza- information searches based on qualita- into the right side. This is the rst step (10 minutes) messages, products, and services from which direction to go. These are - Prototype everything. tions is built on agreement rather than tive criteria. Information migrates in writing the problem statement. di erent sources. In some cases, probes, and it is not your nal design. It Now, you will move to the feedback - Test what’s working and what’s not deciding, stewardship rather than the across devices and displays, demand- Write your POV : “AIGA Designer 2025” document, aggregation enhances experiences by is learning, not validation. Take on an grid. You want to treat your physical - Innovation is a team sport. ownership of ideas, continuous updat- ing continuity in representation. There “Little person” (name) published in October 2018, is a study bridging gaps between related infor- attitude of a learner. Your sketches are prototypes like what you did with your - Have a bias toward action. ing rather than editions. New is a shift from asymmetrical, one-direc- needs a way to (user’s need) of trends in a number of design elds, mation and activities. In other instanc- an artifact to facilitate a more in-depth sketches. You will have an attitude not approaches to forecasting change, tional relationships between users and Unexpectedly, in his/her world, How this way of working in uences the changes in the nature of work, and es, lter bubbles limit exposure to a understanding. You are not looking to of a salesman but the anthropologist. structuring strategic conversations, data to communication strategies built (insight) outcomes of your process. advice of thought leaders from diverse variety of ideas as algorithms selective- see if they like it, it doesn’t matter if Partner A will get 4 minutes to test the innovating business models, and on models of conversation, participa- PHASE THREE: IDEATE 1. How did engaging with the real practices. It contains a list of seven ly guess what information users would they like it. prototype of your user. Put your making sense of research data com- tion, and community. Connected smart person and testing the prototype with trends that are particularly evident in like to see by location, history, or some 5: Sketch 5 solutions (5 minutes) B gives A feedback (4 minutes) prototyping in users hands to get their prise an essential toolkit for designers. products, cloud processing, and the real person change the direction of their in uences on design. AIGA past behavior or preferences. This A gives B feedback (4 minutes) feedback. And then switch and jot machine intelligence play increasing Step 5 shows some boxes in front of your prototyping? developed these trend descriptions communication fragmentation occurs Trend: Core Values Matter down everything that you nd useful. roles in an evolving “data cation” of you. You are now invited to draw. The 7: Re ect and generate a new solution and their implications for design as sources lose control over the 2. What was it like showing un nished Audiences evaluate organizations everyday activities. point is that most of us are not good PHASE FIVE: TEST (3 minutes) work to another person? education and provide professional contexts in which their messages are based on consistency between artists, that is ne and it doesn’t matter. B gives A feedback (4 minutes) Trend: Accountability for Predicting Incorporate all that you have learned examples that illustrate design received. messages and the values expressed in You are going for quantity, not quality. A gives B feedback (4 minutes) 3. How did the pace (quick iterative Outcomes of Design Action both about your partner and your responses to emerging conditions. The Trend: Bridging Physical and Digital its products, services, and social As long as you understand what you cycle) feel? solutions. You have a deeper under- This was the quick exposure to the most relevant questions for college behavior. People connect emotionally Research informs practice and is an draw, you will be ne. You are not People transition across devices, standing of your partner. Pull that into process. You were focused on your 4. Design thinking is an iterative, design programs are: with stories that are authentic re ec- essential service in many o ces. As a trying to hit upon the right answer, you partner, trying to understand their self-directed process and it is directed environments, and activities in contin- one single new sketch. 1. What principles underlie design tions of an organizations’ ethos and strategic voice in product develop- are brainstorming for the possibilities. needs and trying to develop solutions to your sense as a designer of which uous communication and service practice and design education in the show loyalty over time when ethical ment, communications, and marketing, Hopefully one of them will be magic. PHASE FOUR: PROTOTYPE that resonate with them. Now focus is area you need to explore more. experiences. Users expect technology knowledge economy? and humanistic values drive all aspects evidence-based design research has Try to get outside of the box and have to provide seamless, uni ed experienc- 8: Build your solution (10 minutes) on yourself as an innovator and grow 5. What is one thing that you want to of operations. Models of design prac- been asked to conform to rigorous fun. If 5 boxes are not enough for you, 2. How are these principles di erent es, even when moving among messag- On the left-hand side, you will go from your capacity to innovate. Refocus your try tomorrow? One principle, one tool, tice diversify, with some aligning the standards and be measured by the turn the page and do 15. from those of the industrial age? es and services from di erent sources. 2 dimensions to 3 dimensions. You can energy and think about how you what would you infuse in your work interests of business with those of same metrics as other primary business New platforms amplify experiences in 6: Feedback on sketches (4 minutes) draw it or build it. You want to take the learned in the process. My guess has tomorrow. People are no longer passive consum- global society and meeting the highest activities. Designers must justify the physical world but also create gaps concept you sketched in step 7 and you experienced something a bit ers of information in this complex standards of environmental responsi- research regarding its continuing Now, leave your drawings where they Challenge among devices and diversify the make the actual prototype of your idea di erent than the way you usually social and technological landscape, but bility and public transparency. value. They must adopt methods are, stand up and switch seats with 1. Put what you learned to work as interactive behaviors required of users. work. When we are given a challenge active participants in generating the borrowed from di erent disciplines to your partner. Partner A, this is your right now. You are producing a physi- soon as possible. Trend: New Forms of Sensemaking we accept it, put our heads down, and content and quality of experiences. Trend: Resilient Organizations design problems and de ne evidence chance to share your sketches with cal, tangible representation of your 2. Nurture creative capacities of others. we think our way through that prob- They value adaptive ecologies of People seek meaning and clarity in an for practical applications in practice. partner B. You don’t have to say three concept your user can engage with. 3. Forever consider yourself a student Innovation addresses how organiza- lem and then hopefully show the right knowledge, products, environments, environment oversaturated with data good things and one bad thing, you That is your goal. In 10 minutes you will tions are con gured, the products and answer. Innovation requires a di erent of innovation. and images. They need tools for be putting a real tangible prototype in and services that foster meaningful services they o er, the delivery chan-
Module 01: Why Design? "Designers are the biggest synthesizers in the world. What they do best is make a synthesis of human needs, current conditions in the economy, in materials, Trends presented in the AIGA Designer in sustainability issues, and then what 2025 document are the guidelines for they do at the end -- if they are good -- the Design and Society course update. is much more than the sum of its parts." The US Bureau of Labor Statistics (Paola Antonelli, MOMA design curator, estimates 0-1% growth in traditional TED2007) graphic design positions between 2014 and 2024. By contrast, the Bureau Design plays a critical role in the global expects design positions in networked paradigm shift from an industrial communication to grow by 27%. To economy to experience and knowl- address this estimate, the scope of the edge-based economy. The design is a course has to be expanded beyond user-centered innovation process that traditional graphic design, to include can transform products, services, and the complexity of contemporary experiences to enhance business problems, human-centered focus, and competitiveness. Through the design dynamic and interactive systems. innovation process, operational e ciency may be improved, but more This course centers on fteen ques- importantly, the product-service-expe- tions and various activities that prompt rience innovations will value-add to discussions about the nature of design. businesses as they strive to be relevant The questions posed here address to the ever-changing demands. Argu- issues that span time periods and ably the most important new line of stylistic groupings. The material is thinking in design is the concept of intended to o er di erent viewpoints user-centeredness, which is at the heart rather than draw conclusions about of the design thinking movement. design. I hope that discussions begin- Improving human experience by ning with “Why Design?” will continue serving business, humanitarian, or further providing a basis for thinking other purposes is the general objective about design wherever it is encoun- of design. These ideas are beginning to tered. bring unity to design as a discipline.
M10: Vision and Voice: Design as M11: Bridging Physical and Digital M12: Design Is Not an Art Form M13: Advertising's Past, Present, and Future Agent for Change Experiences “Design is rst and foremost an intel- “Any profession can have “statement of "As these two life forms – human and lectual process. Contrary to popular M.T. Anderson’s novel “Feed” depicts purpose.” Any person, artist, designer, machine – begin to merge a little bit, belief, designers are not artists. They the dystopian society as an outcome of plumber, can make a “statement.” we're talking about technology really employ artistic methods to visualize constant consumerist in uence. Routinely an “artist statement” implies as a kind of new nature, something to thinking and process, but, unlike Characters receive the continuous some moral imperative that is consis- measure ourselves against, to make artists, they work to solve a client’s ows of advertisements through their tent with his or her work. Kind of rules from, to investigate." (Laurie problem, not present their view of the feeds as well as their buyer's education pretentious, I’d say. But I think a Anderson, avant-garde artist) world.” (Erik Spiekermann, typographer, from school. The feed itself is consid- “designer’s statement” is valid too. Its a designer and writer) ered a tool for education, but corpora- Electronic media introduced a distinc- tions control it with the intent of statement of principles.” (Steve Heller, The line between art and design is tion between physical and digital creating consumer pro les. The charac- author, and educator) complex and intriguing. The precise media. In design, analog documents ters are utterly oblivious to the deterio- It is very likely that if you placed line could be drawn between the possess the properties of their material rating environment, including the current work of some of the most practical design and art. Designers production, including continuous tone trademarked clouds, meat walls, and notable design contemporaries such whose work embraces experimental photograph and halftone screens, but toxic oceans, as a result of their feed. as James Victore, Experimental Jetset, design contribute to blurring the lines all digital les are data, processed and Most evident of the feed's anti-educa- or Yves Behar next to each other, you between art and design. As a wide stored as binary code. Images, text, tion objective is main character’s lack would be able to pick out each one variety of other practices, pragmatic to and other forms became variable of skills in reading and writing and his with little di culty. This is because experimental, art and design work to expressions of data les. Desktop sparse vocabulary. This reinforces the they have found a balance of appropri- inform each other. Interdisciplinary computers o ered designers unprece- idea that critical thinking is not ate interpretation of (client) ideas dented involvement with every aspect practice, critical thinking, and testing in the interest of the corporations. through their own lens of how they see of design production. Digital technolo- the boundaries challenge traditional the world. In this argument, a design gy brought a fundamental change in de nitions of art and design. M13 will address the following topics: statement is essential to understand users’ experience and designers’ job. M12 will address the following topics: • Has advertising ever been about how the designer approaches work. critical thinking? Has it always been M11 will address the following topics: • What are the di erences in context, M10 will address the following topics: about adding value to a product by • The emergence of media arts as an purpose, aesthetics, and the role users changing our perception? • The origins, context, and the brief open, democratic, non-hierarchical, play in the process? • How is advertising changing to suit history of design manifestos. uid, and inclusive domain. • Since designers solve problems and the new mediums and savvy audience, • The power of designers‘ vision & • How the concepts of integration, • create products that serve their users, the transition from a passive to an voice. interactivity, hypermedia, immersion, is design, unlike art, only about the active consumer, the rise of user-gen- • Design as an agent for change. and narrativity shaped media arts. user, not the designer? erated content, and anti-advertising?
M14: Design for Science M15: Design for the Next Economy AIGA DESIGNER 2025 • John Maeda. “The Laws of Simplicity: Oriented Techniques.” Prentice Hall, “Frankly I wonder whether humans Design, Technology, Business.” The MIT 1994. “One of design’s most fundamental • AIGA. “Why Design Education Should deserve a position in a thriving econo- Press, 2005. tasks is to help people deal with Pay Attention to Trends.” Aug 21, 2017. • Chris Chapin . “Vision & Voice: Design my. Given our résumé as a species, who change. Designers stand between https://educators.aiga.org/wp-con- • John Maeda. “The Laws of Simplicity: Education as Agent for Change.” Apr would hire us? Any wise, skeptical alien revolutions and everyday life. Design- tent/uploads/2017/08/DESIGN- Design, Technology, Business.” The MIT 24, 2006. https://www.aiga.org/vi- would notice that plankton, grass, ants, ers can grasp momentous changes in IMPACT: STRATEGIES FOR CREATIVE ER-2025-SUMMARY.pdf, May 20, 2018. sion--voice-design-education- and termites all do a much better job • Adolf Loos . “Ornament and Crime.” technology, science, and social mores INTERVENTION as-agent-for-change, May 20, 2018. at saving Earth than humans.” (Bruce • Emily Gosling. “What Will A Designer Ariadne Pr; UK ed, 1997. and convert them into objects and • Mark Randall. “Impact: Strategies for Sterling, “Are we worthy?”) + Their Job Look Like in 2025?” • Alice Twemlow, Denise Gonzalez Crisp, • Randall Packer. “Multimedia: From ideas that people can understand and Creative Intervention.” http://im- Oct 25, 2017, https://eyeondesign.ai- Marian Bantjes, Daniël van der Velden, Wagner to Virtual Reality.” WW Norton use.” (Paula Antonelli) Design shapes, modi es and alters the pact.sva.edu, May 20, 2018. ga.org/what-will-a-design-job- and Maureen Mooren. “The decriminali- & Co, 2003. In many ways, the cybernetics move- world for better or worse, and the need • Mark Randall. ”Worldstudio.” in-2025-look-like, May. 20, 2018. sation of ornament.” Winter 2005. • Michael Worthington, Geo ment is a model for what institutions for modern design to be sustainable http://worldstudioinc.com, May 20, 2018. http://www.eyemagazine.com/fea- McFetridge, Ed Fella, and Jamer Hunt. including MIT Media Lab, UCLA Art|Sci and ethically responsible has never DESIGN AND SOCIETY 2018 ture/article/the-decriminalisa- ”Two Lines Align (Drawings & Graphic Center, and Systems Research Group at been more important. Many corpora- • Mark Randall. “Design Ignites Change.” • David W. Orr. “The Nature of Design: tions, research centers, governments, http://www.designigniteschange.org, tion-of-ornament-full-text, May 20, 2018. Design).” REDCAT, 2008. the Royal College of Art are trying to Ecology, Culture, and Human Inten- do: allow a convergence of new and individuals acknowledge that a May 20, 2018. tion.” Oxford University Press, 2004. • Tim Brown. “Change by Design: How • Hugh Aldersey-Williams, Peter Hall, technologies to create a new move- change in attitude to the way we Design Thinking Transforms Organiza- Ted Sargent, and Paola Antonelli. • Dr. Mariana Amatullo. “Designmatters.” • Tad Toulis. “UGLY: How Unorthodox ment that cuts across the disciplines. In design products, spaces, communica- tions and Inspires Innovation.” Harper- “Design and the Elastic Mind.” The https://designmattersatartcenter.org, Thinking Will Save Design.” Oct 30, his article “Can design advance science, tions, and communities is a positive Business, 2009. Museum of Modern Art, 2008. May 20, 2018. 2008, http://www.core77.com/posts/ and can science advance design?” step and long overdue. Our under- DESIGN THINKING 11563/UGLY-How-Unorthodox-Think- • Ezio Manzini. “Design, When Everybody • Alice Rawsthorn and Clément Dirié. Joichi Ito, director of the MIT Media standing of sustainable design has ing-Will-Save-Design-by-Tad-Toulis, Designs: An Introduction to Design for “Design as an Attitude.” Jrp Ringier, 2018 Lab, wrote: “I believe that by bringing transformed, shifting from being about • Stanford d.school. “A Virtual Crash May, 20, 2018. Social Innovation.” The MIT Press, 2015 • Ian Albinson, Rob Giampietro, Jeremy together design and science we can risk and compliance to a Course in Design Thinking.” • AnnMarie Thomas. “Making Makers: Leslie, Alexander Ulloa, Armin Vit , produce a rigorous but exible dynamic leadership issue. https://dschool.stanford.edu/resourc- • Yuriko Saito . “Everyday Aesthetics.” Kids, Tools, and the Future of Innovation.” Andrew Blauvelt, Ellen Lupton (Editor), approach that allows us to explore, M15 will address the following topics: es-collections/a-virtual-crash- course- Oxford University Press, 2010. Maker Media, Inc, 2014 Steven Heller, and Peter Hall. “Graphic understand and contribute to science • What are the parameters of good in-design-thinking, May 20, 2018. • Daniel Chandler. “Semiotics: The Design: Now In Production.” , Walker Art in an antidisciplinary way.” design in an unsustainable age? • Sarah Gibbons. “Design Thinking 101.” Basics.” Routledge, 2007. • Tina Seelig. “inGenius: A Crash Course on Creativity.” HarperOne, 2015 Center2011. M14 will address the following topics: • What kind of knowledge, skills, July 31, 2016, https://www.nn- • Don Norman. “Emotional Design: • John Thackara. “How to Thrive in the • The impact of Cybernetics Move- and con dence do designers need group.com/articles/design-thinking, Why We Love (or Hate) Everyday • Robert Jones. “Branding: A Very Short Next Economy: Designing Tomorrow's ment on the contemporary culture. to implement these principles and May 20, 2018. Things.” Basic Books, 2005. Introduction.” Oxford University Press, World Today.” Thames & Hudson, 2017. become more e ective agents of 2017. • Can design advance science, and can • David Kelley.”Design Thinking - IDEO U.” • Jonathan Chapman. “Emotionally change? science advance design? https://www.ideou.com/pages/de- Durable Design: Objects, Experiences • Kevin Mullet and Darrell Sano. “Desig- sign-thinking, May 20, 2018. and Empathy.” Routledge, 2005. ning Visual Interfaces: Communication
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