I think it is critical to promote and practice the fourth order design.  It goes beyond just solving a problem and looks at the problem in an evaluative process.  Is there a problem, is this the actual problem, what goals do the clients have and how can we look at the process and solution in entirely new ways so that the solution is not just short term but addresses the larger picture of the clients existence are all questions we must ask.  In this process, we must include not only designers and their clients in the process, but bring others with fresh points of view into the mix as well.  New perspectives will bring new questions that we may not conceive.  How can we design in a bubble?  At the very heart of what we do is to create solutions that better the outcomes for the user.  We must delve into the depths of the issues of the user and their business to create the greatest outcome.  This means we must partner with the user and learn all there is of their issues and goals, long and short term in order to identify the real issues and create unique and profound solutions.

Think tanks came into play in the early 90’s.  IDEO was one of the first to break the rules and turn the design process upside down.  They had individuals who were from various sectors of business such as industrial design, marketing, healthcare professionals, architects, and others.  Each individual brought their own unique points of view.  It was a breakthrough in design and problem solving.  Since then, we have embraced this idea that the stated problem to be solved may not be the real problem.

In order to make this process work, our clients must be on board with a dissection of their lives, business and information.  Otherwise, this will not work.  However, we must also look at the community around the client and the problems to be solved.  For example, in healthcare, we can solve the everyday issues of space, clearances, facilities needed, etc.  But how do you address the human issues that are even more important.  Both the healthcare workers and the patients have needs that we as designers can address.  They may not even be aware of the needs as their agenda and focus is on giving medical care and keeping patients safe.  The patients need these things, but they also need to feel safe, feel warm and cared for, feel comfortable and feel a sense of place and belonging in a sterile and sometimes hostile environment.  These are not functional needs; they are emotional and spiritual needs.  How do we as designers solve this?  Especially when the healthcare community is entrenched in a standard of focus that is hard to penetrate.  They don’t’ believe both issues can coincide.  We as designers must look past the “cant’s” and design a way to make all issues important and workable.  Hospital rooms that have soft fabrics, warm colors, windows to connect the patient to nature and light, personalization of the space, control over their environment, accommodations for family and guests for support and spiritual support are just some of the issues we need to design for.  All of these issues are vital to patient care and quicker recovery.  If no one asked the questions and looked past the norm, these elements would not be a part of today’s changing hospital and healthcare paradigm.

We can no longer design in a vacuum.  Engaging the client and users along with introducing collaborators into the process will bring about new and unique ways of creating a holistic design solution.  Collaboration, in addition to process, is a key factor in the successful completion of design execution.  Collaboration occurs between team members, consultants and with the client.  Client communication and collaboration is vital to understanding a project and providing a mutually beneficial outcome.  “One way to help design thinking diffuse throughout an organization is for designers to make their clients part of the experience.  We do this not just to give them the thrill of peering behind the wizard’s curtain but because we find that we invariably get much better results when the client is on board and actively participating.” (Brown 63)

Brown, Tim with Barry Katz. Change by Design. Harper Collins, 2009. Print.

Every designer has their own process of working through a design challenge.  The basic steps of investigation, research, ideation, exploration, evaluation and conclusion then rinse and repeat seem to show up in many designers work.  This is also the case with the four process books we reviewed in this Unit.

In looking at each, I find that the process is very similar to what I experienced in the Integrated Media course.  Each student successfully communicated their ideation process for the most part.  April’s work is amazing.  Her methodology book went a bit too far with the amount of information and process she chose to include.  I found that after page 50, she lost me.  I understand this issue of including too much information as I am guilty of this, at times, also.  There is a great deal of duplicated information and I found that it could have been condensed so that the viewer could stay interested.  The presentation of the methods and process would not have been diminished by this.  Her dog leash book had similar issues.  Don’t get me wrong, she does amazing work.  I just think that editing would help to keep focus and interest.  Jane’s book was great at presenting her process as she included enough information that showed her process and her end project included her methods as a part of the project artifact.  Brilliant!  Some of her sketches were so messy, that I couldn’t grasp them as easily as I would have liked to.  The book I am most impressed with is Jamie’s.  I think the reason is the amount of sketches that were done to test a variety of ideas.  This process of doing sketches and testing is extremely important.  I actually found the sketches more appealing and dynamic than the final product.  What was most impressive about Jamie’s sketches is that 16 different schematic design solutions were explored.  16?  That is what we hope students do and never see.  10 more were explored further.  The ideation and exploration steps are so important and I find that the testing of ideas is paramount.

I don’t need to see pages and pages of student’s feedback or comments and a lot of writing about how someone thought through or acted through a process, I want to see the explorations in images, models, sketches and design studies.  This is where I can “see” what the person is investigating.  As a designer, I am partial to and trained to observe a design process through these formats rather than reading about it.  We need written explanations, but there needs to be a balance.  For me, I sketch and test with models and design studies similar to Jamie.  Another element I observed in the students books was the process of listing words.  The word lists that some presented is an interesting process.  In interior design, I and many designers use words to develop concepts for projects. We list words that can fall into several categories for the project. If I were designing a wine shop, I would work up words that fit that type of project. The first is a literal category of words that in a literal way represent the type of project. An example of literal words for this project type might be; bottle, cork, curve, red, grape, vine, etc. The next category is brand/identity. Some words that represent the clients brand might be; history, stability, inventive, global, etc. The next category of is abstract words. Some examples might be; bubbles, fizz, luscious, warm, effervescence, tingle, sensual, etc. The last category is about the intended emotion or experience of the user. Some examples might be; fun, excitement, intimacy, luxurious, party, high, elevation, entertained, etc. We narrow the focus of the words and use the words and ideas to create the concept for the project. We then use these focused words and the ideas they start to spark to develop forms and shapes that represent the words, then we use these forms to develop 2D and 3D diagrams for the space.  Words are a great way to create concepts and form. They spark ideas and concepts that are bigger than the words themselves.

There is little that I observed in the books that are very different from what I currently do in my own process.  I am just excited to see some of the variations in each person’s thought process.  I’ll continue with my process as it seems to work very well.

I was thinking about sustainable design practices and how we can take things to the next level.  Many years ago, 25 I think, I was working on an interior design project.  25 years ago there were archaic computers, no cell phones and things were technologically young.  The client was very excited about the technology that did exist and thought that with the prevalence of these computers, paper would become obsolete.  They reduced their amount of file storage because they felt they would not have to print and use as much paper.  Ha Ha Ha……the joke was on them.  The real truth is that our use of paper over the last 25 years has gone up by leaps and bounds.  It is only now, 25 years later, that we actually have the ability to reduce dramatically our use of paper.

With the ability to digitally view, read, markup and interact, we for the first time we do not need to print out paper.  Acrobat allows us to digitally markup comments, make presentations and review drawings.  Blogging allows us to document design process, create articles and opinions and present work.  Websites replace mailers, catalogs, brochures and other forms of paper marketing.  iPads allow us to make digital presentations and take documents with you instead of printouts.  Magazines and newspapers exist online.  Email is available on multiple devices and with Skype and other formats, we can communicate without being there in person.  These are just a few examples.

I used to have to print everything out and have stacks of paper on my desk to project manage my projects.  I don’t print anything anymore.  I think that designers can be the influence to change the mindset of people.  We no longer need to print almost anything.  One exception of this is tracing paper.  I still advocate the use of trace to develop ideas and sketches by hand.  There is no substitution for this and even digitally sketching does not have the same effect of understanding scale, size and proportion that occurs when you sketch on trace.  So, what is my point?  Let’s eliminate most of the paper we use and become masters at the digital arena so we can reduce our exploitation of our natural resources.  Finally, technology has caught up with our hopes from 25 years ago.  Food for thought!

It was impossible for me to download the book by Dubberly.  I attempted this from the SCAD link as well as from the designer’s website directly.  Each time, the book locked up and would not download.  Therefore, I am unable to respond to the models highlighted.  I can, however, observe my own creative process that I outlined in the first Unit 6 blog posting.  I am going to re-post the diagram that I created that discusses my design process.  I outlined that there are 3 major aspects to my process.  These include; the explorative process shown in green, the ideation process shown in teal blue and the refinement process shown in white.  I find that my process is circular rather than linear.  I often find that there is a re-visiting that occurs in a circular fashion.  I have been doing this process for many years and the process works for me.  I would say that areas that have been added over the years are; the extent of questioning in the first stage in order to look at the issues that I’m attempting to solve in new ways and asking other questions to see if the issues presented are what really need to be solved, greater and freer experimentation and the willingness to re-visit ideas and solutions with a collaborative approach.

I find that many of the processes presented in the course materials, articles and resources approach the design process in similar ways.  They use different terminology, but the process is very similar.  I would say that the design process has changed over the years to be more inclusive of collaboration, experimentation, delving deeper into the issues that need to be solved and a willingness to share rather than hoard design ideas and design solutions.  I look forward to reading Dubberly’s material and will comment further if there are steps that I would add to my own process.

The process of flow for me follows a similar process as the creative process discussed in posting 1 for this unit.  Since I’ve been a practicing designer for many years, flow is a clear part of my process.  I consider flow to be a part of every stage of a project. The course content talked about losing time when one is in the flow.  This is certainly my experience as well.  When I am in the “flow” of any part of a project, time and distractions do not exist.  As a matter of fact, distractions are extremely detrimental to the process for me.  In order to support the flow process, I need to eliminate distractions and either have full quiet or have music as a support element.  This allows my mind to focus and stay “in the moment” as I work and create.  This is how I can best support my process if I’m working alone.  The “flow” looks very different if I am working with another person or with several others.  In this scenario, flow occurs when there is a dynamic process of sharing, testing, brainstorming, collaboration and experimentation.  I find that the flow happens for me in this collaborative environment when there is fun, lively and playful interaction.  The looser the engagement, the more movement seems to happen as all parties tend to let down their guard and realize that they can present any idea with freedom.

There needs to be a goal or series of goals defined before the process of flow can occur for me.  These goals may be literal or they may be to deconstruct the goals that are expected in order to define new questions or perspectives to be considered.  Continuing to allow myself or the individuals involved in the process to explore with freedom is important.  Once this process has had time for investigation, then reeling-in of the ideas to those that fit the literal or deconstructed goals is necessary.  This allows the next steps of evaluation, testing, experimenting and conclusion to occur.

Being in the flow is an amazing state.  It is the “high” I think designers experience in the design process.  It is much like a runner’s high and brings joy, enthusiasm, excitement and satisfaction.  It can also bring a meditative state if done alone without distractions.  I often experience this when I write.  Immersion is important for the process of flow to work well for me.  I look forward to the next state of flow.  On to Unit 7.

The creative process follows three major steps for me.  The first shown in green is the explorative process.  This includes all information gathering meetings with the client and any collaborators involved.  All methods of research, observations, questions, insights, case studies, field reviews and inputs are performed.  This can be collaborative, which is most beneficial or isolated.  Analysis and evaluations begin to occur to focus on the ideas to be tested and experimented.  This begins the ideation process shown in blue.  During this phase, interactions with all parties that can add to the creative process and bring new ideas and perspectives occurs.  Brainstorming, experimentation, sketching, testing and prototyping is the next step in this phase.  Once this phase is completed, revisiting the steps again may be necessary to expand or narrow the focus of what is working or not.  At this stage, a narrowing of focus occurs to eliminate the areas not working and refine the possible solutions that are working.  Bringing in the collaborative team or resources for evaluations and reviews assists with the refinements.  Execution of the final proposals will be presented to the clients for approvals or further review of the blue and white phases.

This process has been very successful over many years.  Understand that this is a circular process where many of the steps repeat as often as necessary and each time they do, greater clarity occurs.

If I had to define my weaknesses, I would have to say that I can be intense and I set high expectations for myself and others and when collaborating, I expect the group to be as present and engaged as I am.  I say this is a weakness because not all individuals think like I do and do not always have the same values that I do.  This can cause friction in a collaborative event.  I value experimentation, the willingness to think in new ways and risk making odd suggestions, testing, sketching, testing some more, having fun, looking at problems from different angles, respect, inclusiveness and support.

Self-Assessment_Project A, Part 2

For my review, I’m going to use the rubric for the basis of my self-evaluation.

Presentation Topic Introduction:  The topic is introduced and background information is provided on how the topic was developed from a broader interest. Information is presented succinctly.

The larger topic of socially responsible design was introduced at the beginning of the presentation as the broader interest.  Sustainable Design is one aspect of socially responsible design and became the focus of the limited research review.  I provided an overview of socially responsible design and how sustainable design is linked to it.  I then introduced the issues that constitute sustainable design practices and supported it with citings from the major influences of Sustainability.  I continued with explanations of sustainable design components.  Key terms, organizations and certifications of sustainable design were presented.  With this overview complete, I chose to present how designers and graphic designers can participate in and influence sustainable design.  This tied the larger issue of sustainable design to the practice of graphic design and the influence graphic designers can have on the industry.  I completed the presentation with areas of concern and future issues for sustainable design.

I feel the issues and topic were presented well with good foundational and overview information that led to detailed information on the focused topic.  The information was presented clearly and succinctly.

Presentation Tone:  The student makes a presentation that demonstrates command of the topic and confidence in the research conducted.

I always research topics in depth and chose to have a strong grasp on any topic I write about or comment on.  I feel I have a strong command of the topic and have presented it with confidence and clarity with reference to the research completed.  I would have liked a bit more rehearsal time and would have re-recorded a few slides.

Vocabulary Presentation:  The student defines key terms and presents featured researchers before expounding on specific details. The student reminds the audience of these definitions as the presentation progresses.

As I commented under Topic Introduction, I began with the larger topic and then presented more focused details on the topic.  At the start of presenting sustainable design practices, I referenced two of the key researchers and books that provide a strong understanding of what constitutes sustainable design practices.  I also referenced one of the leading researchers for how graphic designers can institute sustainable practices into their practice.  Throughout the presentation, I defined terms and processes and reminded the viewers of them as I progressed through each part of the presentation.

Visual Presentation:  The presentation is enhanced by the visuals. The student utilizes the synergy between the oral and visual presentation to captivate the audience. There is an engaging application and balance of design principles, elements, and style.

I have created a strong visual presentation in addition to the verbal narration.  I have used images and bold headings to assist in absorbing the information and to provide a dynamic presentation.  I hope that I have created a dynamic and engaging presentation.  I think I have.  I do have to say that I tend to go overboard with images in support of a presentation.  I tend to be a minimalist in interior and graphic design, but in visual presentation that present information, I can include too many images which can either support or distract.  It depends on the person viewing it.  I would have liked to edit this further and reduce the images with more review time.

Presentation Flow:  The content successfully supports the topic introduction. Transitions are used to guide the audience through the findings.

I feel the content supports the topic very well and the transitions and pace seem to work well in guiding the audience through each area of the topic.

Presentation Timing:  Student paces him or herself and concludes the presentation within the allowed time.

I paced things well, but found it impossible to keep within the 7 minute time frame.  If I have deleted the 2 slides about the socially responsible design overview or the slide about areas of concern and future issues, I could have been within the time limit.  I felt that it was important to have given the overview of where sustainable design comes from and to bring insight into issues that need to be reviewed further.  This caused me to go over the time limit by about 1.5 minutes.

We are being asked to revisit our definitions of graphic design.  I’ve indicated the additions to the definition I posted in Unit 1 by italicizing the additions here.

This definition comes from years of experience working in the design industry and working specifically in interior design and graphic design.  Many conclusions come from my professional and educational experience.  Additional ideas have come from many readings and research that I’ve done over the course of the last three years.  I am including some of the resources I’ve encountered at the end of this blog that have provided insights in addition to my own experiences.  There are no specific citings as the development of the definition did not come specifically from others ideas, but from the comprehensive combination of experience and learning that I’ve received over time.

Creating a definition for graphic design is an important endeavor for the graphic design industry.  It has impact on the understanding of the practice by clients, partnering professionals, other industry professionals, students and those within the graphic design community of professionals.  There seems to be much debate over this topic as each group has a stake in the outcome of the definition.  The industry is changing rapidly through technology which is stretching the profession to keep up and keep current as well as allowing novices to attempt to practice without the education or clear understanding of the complexities of the profession.  It makes it difficult to craft a definition that is simple, supports the profession and does not detract, confuse or mislead the reader.

Graphic Design is a profession with an educated understanding, creation and execution of the branding and/or representation and visual presentation for products, packaging, clients, 2D media, 3D media, animation and digital media and for television and film media. Graphic Design communicates an intended idea, experience, representation, desire and/or directive to the public and/or selected audience.  Graphic Designers interface with many different disciplines that may include; industrial designers, engineers, interior designers, architects, illustrators, artists, fashion designers, advertising agencies, photographers, production companies and the video, music, film and television industries, etc.

Graphic Designers must be proficient in a multitude of skills and be educated in many aspects of the industry that support and present the creation of graphics, products and packaging.  This can include; a variety of complex computer applications, web design, web coding, web hosting, film, television, commercials, production methods, printing, inks, materials, packaging, photography, illustration and typography to name just a few.  The list is much longer than this and designers now have to understand and be competent in these areas.

Graphic Designers are a part of a new paradigm of design thinking and fourth-order design.  Fourth-order design principles include; collaboration and interaction with various parties that can bring new perspectives to the process, making the client an integral part of the problem definition, exploration and design process and asking questions in both typical and new ways to determine the real issues to be solved or changes to be created.  Fourth-order design requires an understanding of the culture of the client, their business and the audience they serve.  In addition, a definition of the purpose of the project and what experience are we attempting to bring forward for the audience are all a part of the fourth-order process.  Collaboration and inclusion is at the heart of fourth-order design and is a key in the design thinking process. (Brown 63)  Graphic Design includes an understanding of and at times involvement in and impact on their clients business, business model and/or products.  This is a contentious issue and many designers do not feel they should involve themselves in this aspect of a clients business.

Graphic Design should include taking a socially responsible role by understanding and implementing sustainable practices to bring about a positive outcome for the health of the planet, its resources as well as for the health of the population that uses the products/packaging they have created.  Additionally, engaging in socially responsible design order to bring design and resources to social causes, clients in need and to those who serve social causes, is part of the graphic design role.

Some in the Graphic Design industry are questioning if a Graphic Designer should include website coding and development and some of the more specialized mediums that present the design graphics and branding they create.  They feel that these require specialized technical skills that do not need to be part of the overall definition of Graphic Design but can be a sub-specialization or part of other industries instead.

You can see that there is a tremendous level of education, experience and awareness that accompanies the practice of Graphic Design.  It can no longer be the process of producing visuals and artifacts, but the profession has to define its new role amid the avalanche of new technology, novice participation and an era of socially responsible awareness.  Ethics, ethical design, professional body of knowledge, new innovations, emerging materials and education are additional issues that are part of the definitions and new developments within the profession.

Resources:

Asthana, M.K. and D.M.R. Panda. “Technology Convergence: The Human Perspective.” Delhi Business Review v3 no 1 (January – June 2002) 11,12,17. Web. 4 Jan. 2012.

Brown, Tim with Barry Katz. Change by Design. Harper Collins, 2009. Print.

Brown, Tim. “Half Full or Half Empty?” Design Thinking, Ideas by Tim Brown 31 March 2010. Design Thinking. Web. 30 December 2012. <http://designthinking.ideo.com/?p=446>

Buchanan, Richard. “Wicked Problems in Design Thinking.” Design Issues v8 no 2 (Spring 1992) 5-21. MIT Press. Web. 30 December 2012. <http://www.jstor.org/stable/1511637>

De La Mare, Nick. “Teaching Craft in a Designed World.” On Design-Creativity Online Sept 2009. 1-2. Web. 4 Jan. 2012. <http://creativity-online.com/news/teaching-craft-in-a-designed-world/139195>

Dziersk, Mark. “Design Thinking…What is That?.” Fast Company July 2008. 1-3. Web. 17 Feb. 2012. <http://www.fastcompany.com/resources/design/dziersk/design-thinking-083107.html>

Golsby-Smith, Tony  “Fourth Order Design: A Practical Perspective.” Design Issues v12 no1 (Spring1996) 5-25. MIT Press. Web. 30 December 2012. <http://www.jstor.org/stable/1511742>

Kopec, Dak. Environmental Psychology for Design, New York: Fairchild Publications, Inc., 2006. Print

“Definition of Interior Design.” NCIDQ. National Council for Interior Design Qualification, Inc. 2004. Web.30 March 2011.           <http://www.ncidq.org/AboutUs/AboutInteriorDesign/DefinitionofInteriorDesign.aspx>

Schleicher, Dennis, Peter Jones and Oksana Kachur. “Bodystorming as Embodied Designing.” Interactions v17 no6 (2010) 47-51. Mendeley. Web. 29 May 2012. <http://www.mendeley.com/research/bodystorming-embodied-designing/>

Weigand, John. “Defining Ourselves, The Interesting and Urgent Questions Raised by the Interior Design Body of Knowledge.” Perspective Winter 2006. 1-7. IIDA.org. Web. 10 March 2011. <http://www.iida.org/resources/category/2/8/7/documents/0106defining.pdf>

I was asked to define phenomenology in the discussion posts today in relationship to the article I reviewed.  I gave the definition as I understood its relationship to the study I reviewed.  I said the following; “Phenomenology is a subjective experience from a first person point of view. It can be a sensory experience of a space, as in architecture for example, or about something being reviewed or observed.”  I’d like to share further information about phenomenology from my perspective as I use it in design.  Since my design is mostly about designing spaces, the definition and use of phenomenology applies to this form of design.

Phenomenology can pertain to many aspects of life; Architecture, psychology, philosophy, science and religion, etc.  In addressing phenomenology with regard to architecture and design, there are many definitions that have been put forth to explain the theory, some in terms that are difficult to comprehend.  I found a few that surpassed the existential definitions and made clear the intent.  The first, which I found intriguing, is Merleau-Ponty’s indication that phenomenology is “achieving a direct and primitive contact with the world.” (Phenomenology 3)  I see this as being the body’s way of experiencing the world and connecting to it without conscious forethought.  I was drawn to another comment from Merleau-Ponty that stated, “environments include patterns, particularly “lines of force” and to those able to read them, meanings.” (Phenomenology 3)  I feel that those “lines of force” are present to draw one’s attention in many aspects of life.  Unfortunately, most people are not paying attention.

Bringing one’s true attention to a design, to a place or space, to the events around them and to life allows for a greater awareness and appreciation for the circumstances and environment.  This brings a depth to the individual and their understanding of life and place.  Holl writes in his article that phenomenology is the “focus of the experiential.” (Steven Holl 5)  I think that all of these wonderful statements intend that phenomenology with regard to design and architecture is the individuals experience of the space or place without pre intended thought and engaging all of one’s senses in the process.  In going through this experience, one is changed, altered, made aware and comes away from the experience with a sense of the design or place.

In observing my own process of design, I found that I design from a perspective of phenomenology.  As a matter of fact, I live my life utilizing these same principles.  I found it very interesting reading Holl’s article.  He talked about reversing the normal design process and sketching the volumes of space and perspectives before the plans and elevations.  Each of us learned the other process, but I have always found myself visualizing the 3 dimensional space and creating sketches of it either before developing the plan or in conjunction with it.  I have tried over and over to teach this to my students as well.  I don’t know where the idea came from that you had to develop the design 2 dimensionally before exploring the 3 dimensional volume of space.

Once the programming and fit plans are complete, conceptualization begins.  I work with a client to develop the identity they are trying to put forth, exchanging ideas and concepts that will project the desired results.  We discuss issues, requirements, branding, and desires for the space.  I educate them as I go to help them think outside of the box with me on testing new ideas and solutions.  Exploration and innovation are key at this stage.  It is so important to have the client be an integral part of this exploration so they can contribute to a more unique and useful design process. My questions are, how can things be viewed or interpreted in a new light and what can be designed or is available that would lend itself to the solution?  Do old paradigms have to be the standard or are there new ways to solve the issues and needs of the project?  As these questions are being asked, sketches and models or materials are being drawn upon to work through the ideas.  The plan remains secondary during this process.  Working through these ideas with the client brings them along and shows new possibilities to old solutions.

Sketches, models, materials and mock-ups are all used to investigate the best solutions for the users and those engaging with the space.  As the design progresses, the normal process of development occurs with sketches and renderings being presented to the client.  The goal with any of my designs is to create spaces that are dynamic, engaging, vital and that inspire the occupants and visitors as they use and move through the space.  For me, some keys to creating this type of space are through the development of architectural shapes and forms that draw the viewer through the space, light and its multi faceted properties which engage the eye and produce excitement with delineation of focus toward architectural features and forms and contrast that defines the forces between neutrality and stress, creating a dynamic balance.  Additionally, my goals are to inspire movement and the interaction of people in a space, transparencies that allow for light and visual access, and a sense of engagement between users and the space.  All of this creates an energy, a force, that enlivens and engages the participants in the space.

My goal with design is to give the users and viewers an experience, a sensual, visceral, mental and maybe even spiritual experience.  Allowing them to progress through the space and have it unfold with new observations and sensory awareness about the space and about themselves.  Steven Holl makes a comment about phenomenology that I especially relate to, “its focus is on the experiential.” (Steven Holl 5)  Pallasmaa also puts this idea beautifully in his book, ““Experience of architecture is multi-sensory; qualities of matter, space and scale are measured equally by the eye, ear, nose, skin, tongue, skeleton and muscle. Architecture strengthens… one’s sense of being in the world, essentially giving rise to a strengthened experience of self.” (J. Pallasmaa 28)

Citations:

“Phenomenology” Savannah College of Art and Design Online, Interior Design Theory and Criticism Unit 3 Lecture Winter 2010, 1-11

Steven Holl.  “Within the City: Phenomena of Relations.”  Design Quarterly, No. 139, 1988, 1-30

J. Pallasmaa, The Eyes Of The Skin: Architecture and the Senses (London: Academy Editions, 1996), p. 28.

Design-Thinking Methods

Review the Bootcamp Bootleg materials from Stanford’s d.school. In your entry, discuss at least two of the design-thinking methods presented in detail. What type of questions related to design do you think these methods would be able to help answer? What type of information do you think they could help you to discover? Reflect on the practical application of these methods in your own work.

Are there parallels between the methods discussed in this unit and those you have practiced? How closely does your methodology align with the methodology presented in this unit? Did the research presented offer new insight

Engage with extreme users:

Engaging with extreme users mean that you observe and interview the users that do not fall within the normal ranges of behaviors, use and definitions for whatever issue is being investigated.  These users can help identify the activities, uses, stresses and needs that an issue must address even though it is outside of the normal activities, uses, stresses and needs of the issue.

I chose this method as I used it recently in a project done for GRDS Integrated media.  We were working on a project to develop marketing that would bring attention to homelessness and to develop a something that would bring support and assistance to those who are homeless.  I did the typical research into the numbers of homeless, the locations they reside, the opportunities in the community for them, the commentary of the supportive community and solutions that others have provided.  I did interviews with different parties that work with the homeless.  The information I wanted to gather was the experiences of the homeless population, especially the extreme homeless population that did not take advantage of the support mechanisms typically available in the community.  I wanted to find out why they did not take advantage of the resources available to them in order to design better solutions.  I found myself organically in a situation where a homeless man crossed my path that fit the description of my inquiry.  I spent quite a bit of time speaking with him and gained valuable information.  I then went to a site with several of this type of homeless to ask similar questions and again, found information not indicated by any other source including the homeless that do take advantage of the normal resources.  Had I not taken this risk and sought out the extreme users, I would not have understood the “real” reasons that the homeless population behaves the way it does and why they do not and cannot engage with the services available to them.  This allowed me to think out of the box and develop a dramatically stronger design solution to support all homelessness including the extreme homeless population.

Brainstorming

Brainstorming allows for many ideas to be presented over a short period of time taking advantage of non-filtered creative thought.  It allows several ideas to come forward without judgment and allows for a multitude of points of view to be expressed.  Collective thinking and expanding on ideas generated can lead to idea threads that can be evaluated later.  Brainstorming can be for design solutions as well as addressing questions that should be asked as a part of the investigative process.

One comment at the beginning of the WHY brainstorm is that you can come up with many more ideas in a collaborative brainstorming session that you would sitting by yourself writing ideas.  I understand this process very well both professionally and in education.  I’ll relay the education aspect.  In my studio classes, I have the class participate in helping each other brainstorm ideas for the concept development for their interior design projects.  Students have to write down words that describe several aspects of a project type that are based on; literal, abstract, brand/identity, and intended emotion or experience of the user that they would like to emphasize.  When they go off on their own to do this exercise, they come up with very weak and limited words.  They find it difficult to think in abstract terms and have a hard time determining the experience or emotions they want to have the user’s experience.  By doing the brainstorming session in class, with all participating, the students develop unique and in-depth word extraction which leads to stronger concept development for the projects.  I have to constantly remind them that there are no bad ideas, no judgment and to allow the thought to be said without filtering it first.  Once they get the hang of this, they love it and bring it to other aspects of their design work.

Each method described in the Bootcamp bootleg is an invaluable tool in identifying the real issues behind a design problem and in working through every segment of the design process.  I’ve utilized many in my practice and in the educational process.

I wanted to share something that I saw on CNN this morning.  We as designers and people of this planet have to be aware of the impact we are having on society and the life of the planet.  Since my topic is about socially responsible design with an emphasis on sustainability, I have been paying attention to these issues and coincidentally this program came to my attention this morning (By the way, I do not believe in coincidences).  This CNN program addresses both socially responsible design and sustainability in the most amazing way. The show is called the Next List and they feature individuals or inventions that help others or bring new ideas to the table.  The woman featured in today’s show is Susana Helsse.  She is an environmental activist who is working to help recycle plastic bottles and plastics to build new schools in Guatemala.  Her story is amazing and inspiring.  I’ll give a brief summary of this work she’s doing, but please review the videos about her and you will see what an amazing person she is given her life circumstances.

The project she is involved in started in this way: She was watching a man stuffing plastic trash into a plastic water bottle and thought that this was fascinating.  She wondered if this could be used for something and would help to clean up the trash that is killing the area.  Using the stuffed plastic bottles as insulation and building materials is what she ended up developing.  This process has been advanced, adopted and is now being used in many other locations such as Cambodia and other third world countries  with immense trash issues and need for inexpensive building materials.  The bottles are being called the “eco-brick” and the project Susana has developed is helping to clean up an area of Guatemala called Lake Atitlan in San Marcos.  The trash is polluting the lake and clogging drainage so that disease and pollution is expanding destroying the area.  The “eco-brick” allows the community to use the mountains of plastic waste to make something useful and help themselves and the planet.  I’ve captured images from the videos at the website links I’m posting for this story.  I’d like to share them with you here.  I hope this inspires you to want to do more.  Something as easy and intuitive as this can be your next idea.  Remember, we are designers.  We can design solutions to real problems.

These are the links to the videos on this story.  Enjoy!

http://whatsnext.blogs.cnn.com/2012/09/25/turning-trash-into-building-material/?iref=allsearch

http://whatsnext.blogs.cnn.com/2012/09/28/the-trash-queen-of-guatemala/

I thought that I would talk about research and working through ideas and the concept map for our limited research review.  My topic is sustainable design which is one aspect of socially responsible design.  I have a good deal of experience with practicing sustainable design as an interior designer.  I thought that this would be relatively easy to put the research and information that I’ve gathered together and cluster it in categories for the concept map.  What I found is that there are many issues and processes involved in sustainable design.  This made creating a comprehensive and clear concept map a challenge as the breadth of information is vast.  Sorting through hundreds of articles, websites, books, journals, videos and blogs to find information that presented just the facts or gave the history and progression of the inception of sustainable design was the first big challenge and then categorizing and organizing the information into the concept map became the next big challenge.  I hope it is clear and understandable.

I could have put another 10 categories into the map, but I found that the issues I chose to include seemed to be the most important, at least the ones that I could narrow down to while giving a comprehensive overview.  I now have to focus on the areas of sustainable design that I can appropriately address in this limited research review.  Since I have never done a limited research review, this seems more challenging than I realized.  I am used to writing about a very comprehensive set of issues on a topic, but with a limited research review, I am not writing an article, research paper or position paper but consolidating information for clear, unbiased and factual representation for a future research paper.  I have to keep reminding myself that we are only dealing with the research at this time and how to summarize and format it for future use.

Breaking the process of research into these bite size pieces has tremendous value and The CRAAP forms are a great tool in assisting with the evaluation of the quality of the research source.  One difficulty with this tool is in finding information about authors.  Not all authors of books, articles, blogs, etc. have bios or information posted about their credentials.  Does this mean that their inforamtion is any less valid?  This will be the trick in sorting through research as I think there is validitiy with many authors even if they do not have credentials that can be verified.  I am glad that I am getting to participate in this aspect of research development.  On to the next task………

I wanted to share a concept map I did for the homelessness project we did in GRDS 504.  The concept map was an amazing tool to identify all of the issues that needed or could be addressed by the project.  Not all areas had to be solved or addressed, but the concept map became an evaluative tool to bring focus to the project.  As it turns out, I addressed all of the issues noted except elements that other students brought to the table that acted in support of my project.  This project was a daunting task as I wanted a comprehensive solution to the issues of homelessness.  The areas I could not develop or address, my wonderful classmates did.  I think the solutions that came from the class could be intertwined to bring real support for the homeless community.

You’ll observe that the concept map looks organized and includes a wide breadth of issues.  There were several maps leading up to this final one for the visual presentation.  Scribbles and ideas noted on any form of writable surface I could find.  Scraps of paper, napkins, notebooks, etc. became the idea stream for this project.  Then, finally, after much thought and many notes and ideas, the formation of a comprehensive solution formed and allowed for this final draft of the concept map.  One thing I’ve learned over the years is that when you get an idea, no matter what it is, write it or sketch it immediately.  I have stacks of paper, post it notes, napkins, trace, cards, etc. with thoughts, ideas and concepts.  They become the foundation for the papers and projects I work on.

I’ve observed many concept maps and the ones that the classes or internet present tend to be the ones created in the computer using some form of word document.  For me, I find that I lose all level of creativity and brainstorming flow when I try to work through a map on the computer.  Working by hand engages my right brain and the process comes very organically.  I also find that reading a concept map is much easier for me when it is a sketched or drawn map.  I just can’t read the computer generated ones.

The map I’m showing here started with the idea that the greatest benefit we can provide the homeless is to provide support.  Identifying what types of homelessness exists allowed me to identify what could be of use.  “Support” of all kinds became the starting concept.  Providing a sense of independence and dignity were the driving factors to the support to be identified (Noted in Red).  How to support was the next element to identify.  The areas in green address this.  This was the complex part of the solution as many areas of support are needed.  Examples include; eating, sleeping, cleaning, safety, healthcare and information for assistance.  Carrying those support ideas further allowed for brief possible solutions to be sketched and noted.  Many of these support elements are co-related and one, a few or all can be addressed in a single project or each can become a project on its own.  I chose to address all as one project to provide a comprehensive solution.  Finally issues of city and local involvement and funding had to be included as there must be an understanding of how to make the projects happen monetarily and logistically (Noted in Blue).  One area not noted here was the issue of locations for the solution.  That should have been a part of the map and was addressed in subsequent information.

Creating concept maps becomes strong tool to get ideas out, sort through them, filter, eliminate, develop consciousness streams and in the end organize thoughts and see the connections to help bring focus to the paper or project you’re dealing with.  I hope you enjoy seeing one example of a concept map that led to my solution to support the homeless developed in the Integrated Media class.  Thanks for taking the time to take a look.

Socially Responsible Design_Homelessness

I have been very interested in socially responsible design.  As an educator, I have worked hard to include this into the curriculum of my classes and as a key thread within the Interior Design program.  I had recently come across an article in InformeDesign,  InformeDesign Homelessness jul_v04r-p byJill Pable, Ph.D. named Design Response to Homelessness.  Homelessness is just one area of interest that I as a designer can have impact on.  There are many other areas of socially responsible design that I am interested in as well and will discuss further as the course progresses.  For this posting, I’ll give an overview and use this article as an introduction into the social issues we can assist in creating change from within the design field.  The article gives background about homelessness and the issues that the design community is responding to.   Much of the information is related to interior design; however, this does not preclude the involvement of any aspect of the design community.  Products, packaging, media, marketing, campaigns and a host of other mechanisms are all part of solving the social issues at hand.  Take a look at the article and give consideration to how we as designers can help this social need.  We did a wonderful project in GRDS 504, Integrated Design Media that would develop a product or design to solve an issue related to homelessness.  InformeDesign is a highly regarded research and evidence based website for articles and research about design and human behavior developed by the University of Minnesota.  Their slogan is “Where Research Informs Design” which is exactly what has been discussed in this weeks Unit.  Jill Pable, Ph.D. is an assistant professor at Florida State in the Interior Design department and has won several awards for her educational papers.  InformeDesign is a good resource for quality research.  To access the information you have to register at the website; http://www.informedesign.org/Default.aspx

When I talk with my students about socially responsible design, there is a disconnect as they think that the market model of design is the glamorous and lucrative side of design.  I work to educate them and discuss the following food for thought:

Design does not have to choose between a market model and a social model.  As designers, we are responsible for our projects, the clients and the decisions we make.  If we behave responsibly, there is no difference in a market driven design or a socially responsible design.  Good design is good design.  It takes into account everything that is socially responsible whether the design is for a market driven retail space or business or for products and marketing to support the homeless.  In addition, we must be environmentally ethical in our actions and decisions made about the production, systems, products, packaging and materials used to create our design and their impact on humans, the region, the planet and the environment.  If we do this, no matter what type of project it is, we are providing socially responsible design, even when it is market driven.

The social model does have its inherent differences than the market model.  The social model is viewed as providing design services for those individuals or groups that are in need, have no voice or power or those with special needs and circumstances.  Design for the elderly, the impoverished, the homeless, non-profit groups, shelters, children’s homes and so many other organizations are included in the social model.  This is the type of social design that we need to encourage designers to be aware of, be educated in and engage with in order to facilitate the betterment and quality of life of the groups in need.

Further reinforcing the issue that designers have a unique ability to change the lives of those they design for, Davey (2005) presents this idea an article; “This article presents a new model for Socially Responsible Design (SRD) that takes into account the social and economic context governing design activity and influencing the design agenda. The new SRD Model focuses attention on the products, environments, services and systems that can alleviate real world problems and improve quality of life. It encourages designers to use their unique skills to address issues of crime, education, government, health, fair trade, ecology, social inclusion and economic policy.” (p. 1)

My perception of design is not changing based on this course, but has changed over the years and especially in recent time due to the global society we live in.  Global warming, sustainability, socially responsible behavior, cultural awareness are only a few issues that the open access to information has brought to the forefront of our awareness.  Design has a unique opportunity to be a part of the change that is needed to make the global connection safe, healthy, respectful and strong.  I’m just glad we can discuss these issues and educate ourselves, students, clients and the population.  We are the change that is needed now.

References

Davey, C.L., Wootton, A.B., Thomas, A., Cooper, R. & Press, M. (2005). Design for the Surreal World?: A New Model of Socially Responsible Design. Refereed conference proceedings for the European Academy of Design, 29th to 31st March, Bremen, Germany. 1-16.

Design thinking, fourth-order design, inclusion and an organic process is the hallmark of a strong design process and eventual design solution.  Fourth-order design can only assist and support in making the design process stronger and even more useful to the client and the design outcome.  Fourth-order design principles include; collaboration and interaction with various parties that can bring new perspectives to the process, making the client an integral part of the problem definition, exploration and design process and asking questions in both typical and new ways to determine the real issues to be solved or changes to be created.  Fourth-order design requires an understanding of the culture of the client, their business and the audience they serve.  In addition, a definition of the purpose of the project and what experience are we attempting to bring forward for the audience are all a part of the fourth-order process.

If we are to engage in fourth-order design and design thinking we must address, in the process, many issues in order to create a strong and innovative outcome.  These may include; understanding the history and culture of the client, their business and products and audience, investigation, observation, participation, exploration, questioning, defining, breaking down and rebuilding parameters, inclusion of various parties and the client, consideration, looking forward, understanding future events and how they transpire, catalysts, consequences, and a host of other issues that can bring the full picture into view and allow for a holistic and evaluative process to occur.  Being open to these issues, new ideas, new answers to questions and possibly re-defining the problem is necessary in design thinking.  Fourth-order design principles contribute to this occurring.

Collaboration and inclusion begin the design thinking process.  Bringing into the process, the client and others with both specialized information and with varied points of view allow a unique dynamic to occur.  The client is the one who has full ownership of the outcomes of the project as they are responsible to their business, shareholders, clients and the public.  They know their business intimately.  They understand the short and long term goals and they take the heat or the credit for the outcomes.  Their intimate knowledge of the business can be a double edged sword.  They may be reluctant to “see” new ways of looking at or defining their issues and solutions, yet if we, as designers can help them through this in a holistic way, they may learn to “see” with new eyes and help to create innovation and vision.  Either way, without them, real innovation and vision cannot occur as we must get buy in from the client.  Others with unique points of view or with specialized knowledge allow the group to look at both specific information needed and allows for new ideas and processes to be brought to the table.  Again, innovation and vision can flourish in this environment, especially if everyone on the team steps out of the way and leaves their egos at the door.  One of my favorite passages from Tim Browns book, Change by Design is; “One way to help design thinking diffuse throughout an organization is for designers to make their clients part of the experience.  We do this not just to give them the thrill of peering behind the wizard’s curtain but because we find that we invariably get much better results when the client is on board and actively participating.” (Brown 63)  Collaboration and inclusion is at the heart of fourth-order design and is a key in the design thinking process.

One issue with information provided by the client and other individuals participating is that what people say is occurring is very different that what really occurs.  For any given project, the issue may be to better meet the needs of what is occurring and sometimes the issue is to change what is occurring.  Observation is one way to find out what is actually occurring in order to evaluate it.  I learned about and began implementing this in the design process over 30 years ago.  It is a standard in my industry of Interior Design.  What people perceive may not be what is really happening.  Observation is vital to understanding the dynamics at play.  Participation can be a partner to observation.  If we have an opportunity to participate in a dynamic, we can experience for ourselves the issues and processes involved and bring the experience to the design thinking process.  It allows us to view the real issues in a more holistic and useful way.

In an article in Fast Company, Mark Dziersk comments on design thinking.  ” Although Design is most often used to describe an object or end result, Design in its most effective form is a process, an action, a verb not a noun. A protocol for solving problems and discovering new opportunities.”  He goes on to say; “Another way to say it is defining the right problem to solve. Design thinking requires a team or business to always question the brief, the problem to be solved.  To participate in defining the opportunity and to revise the opportunity before embarking on its creation and execution. Participation usually involves immersion and the intense cross examination of the filters that have been employed in defining a problem.  In design thinking observation takes center stage. Observation can discern what people really do as opposed to what you are told that they do. (Dziersk 1,2)

Collaboration, observation and participation are vital aspects of the contributions fourth-order design makes to the design thinking process.  Question everything once the information has been gathered through the investigative, collaborative, observational and participatory process.  How we question is as important as what the questions are.  It is necessary to ask questions that are more comprehensive and go past the definition and parameters of the project.  There may be new ways of looking at the project as defined or even new issues to be identified that will support the clients goals and business intentions through this process.

Fourth-order design principles are a vital component to the design thinking process.  Whether they are called “fourth-order design” or just what we as designers do as a part of our design process, the principles dovetail with design thinking seamlessly to create a stronger and more comprehensive design solution for our clients.

Citations:

Brown, Tim with Barry Katz. Change by Design. Harper Collins, 2009. Print.

Dziersk, Mark. Design Thinking…What is That?. Fast Company. July 2008. 1-3. Web. 17 Feb. 2012. <http://www.fastcompany.com/resources/design/dziersk/design-thinking-083107.html>

Creating a definition for graphic design is an important endeavor for the graphic design industry.  It has impact on the understanding of the practice by clients, partnering professionals, other industry professionals, students and those within the graphic design community of professionals.  There seems to be much debate over this topic as each group has a stake in the outcome of the definition.  The industry is changing rapidly through technology which is stretching the profession to keep up and keep current as well as allowing novices to attempt to practice without the education or clear understanding of the complexities of the profession.  It makes it difficult to craft a definition that is simple, supports the profession and does not detract, confuse or mislead the reader.

Graphic Design is a profession with an educated understanding, creation and execution of the branding and/or representation and visual presentation for products, packaging, clients, 2D media, 3D media, animation and digital media and for television and film media. Graphic Design communicates an intended idea, experience, representation, desire and/or directive to the public and/or selected audience.  Graphic Designers interface with many different disciplines that may include; industrial designers, engineers, interior designers, architects, illustrators, artists, fashion designers, advertising agencies, photographers, production companies and the video, music, film and television industries, etc.

Graphic Designers must be proficient in a multitude of skills and be educated in many aspects of the industry that support and present the creation of graphics, products and packaging.  This can include; a variety of complex computer applications, web design, web coding, web hosting, film, television, commercials, production methods, printing, inks, materials, packaging, photography, illustration and typography to name just a few.  The list is much longer than this and designers now have to understand and be competent in these areas.

Graphic Design should include taking a socially responsible role by understanding and implementing sustainable practices to bring about a positive outcome for the health of the planet, its resources as well as for the health of the population that uses the products/packaging they have created.

Graphic Design includes an understanding of and at times involvement in and impact on their clients business, business model and/or products.  This is a contentious issue and many designers do not feel they should involve themselves in this aspect of a clients business.

Some in the Graphic Design industry are questioning if a Graphic Designer should include website coding and development and some of the more specialized mediums that present the design graphics and branding they create.  They feel that these require specialized technical skills that do not need to be part of the overall definition of Graphic Design but can be a sub-specialization or part of other industries instead.

You can see that there is a tremendous level of education, experience and awareness that accompanies the practice of Graphic Design.  It can no longer be the process of producing visuals and artifacts, but the profession has to define its new role amid the avalanche of new technology, novice participation and an era of socially responsible awareness.

(Oh, and by the way, for me; Design is design….no matter what you are designing or who you are designing it for.  The process is the same.)

So I’m just testing this out.  I haven’t done a blog before since there is never time.  Let’s see how this goes.

Meegan