tag:blogger.com,1999:blog-84942742049150102522024-03-13T08:22:58.306-07:00Advanced Design InstituteThe Advanced Design Institute (ADi) works to facilitate
a deeper and broader understanding of design as activity and culture.Erik Stolterman Bergqvisthttp://www.blogger.com/profile/10368024740643883412noreply@blogger.comBlogger31125tag:blogger.com,1999:blog-8494274204915010252.post-288872939800082402014-09-17T17:58:00.001-07:002014-09-17T17:58:31.186-07:00Paperback edition of The Design WayThe new paperback edition of The Design Way was just released by MIT Press. It sold out immediately! More copies will be available in October.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8494274204915010252.post-83002955451367405352014-06-04T13:54:00.000-07:002014-06-05T08:22:58.147-07:00Paperback edition of The Design Way coming in September 2014<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
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<b><span style="font-family: "Georgia-Bold","sans-serif"; font-size: 9.5pt; mso-bidi-font-family: Georgia-Bold;">Hardcover </span></b><span style="font-family: "Georgia-Bold","sans-serif"; font-size: 9.5pt; mso-bidi-font-family: Georgia-Bold;">|
<b>$35.00<o:p></o:p></b></span></div>
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<b><span style="font-family: "Georgia-Bold","sans-serif"; font-size: 9.5pt; mso-bidi-font-family: Georgia-Bold;">Short </span></b><span style="font-family: "Georgia-Bold","sans-serif"; font-size: 9.5pt; mso-bidi-font-family: Georgia-Bold;">|
<b>£24.95 </b>| ISBN:<o:p></o:p></span></div>
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<span style="font-family: "Georgia-Bold","sans-serif"; font-size: 9.5pt; mso-bidi-font-family: Georgia-Bold;">9780262018173 | 296 pp.<o:p></o:p></span></div>
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<span style="font-family: "Georgia-Bold","sans-serif"; font-size: 9.5pt; mso-bidi-font-family: Georgia-Bold;">| 6 x 9 in | 102 figures|<o:p></o:p></span></div>
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<span style="font-family: "Georgia-Bold","sans-serif"; font-size: 9.5pt; mso-bidi-font-family: Georgia-Bold;">July 2012<o:p></o:p></span></div>
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ISBN:<o:p></o:p></span></div>
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<span style="font-family: "Georgia-Bold","sans-serif"; font-size: 9.5pt; mso-bidi-font-family: Georgia-Bold;">9780262526708 | 296 pp.<o:p></o:p></span></div>
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<span style="font-family: "Georgia-Bold","sans-serif"; font-size: 9.5pt; mso-bidi-font-family: Georgia-Bold;">| 6 x 9 in | 102 figures|<o:p></o:p></span></div>
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<span style="font-family: "Georgia-Bold","sans-serif"; font-size: 9.5pt; mso-bidi-font-family: Georgia-Bold;">September 2014</span><br />
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-8494274204915010252.post-70771584206876469702014-01-30T06:20:00.002-08:002014-01-30T06:21:12.271-08:00DESIGN: IS IT SCIENCE OR IS IT ART?<div class="MsoNormal">
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<span style="font-family: Arial;">By Robert L. Sandusky, Architect<o:p></o:p></span></div>
<span style="font-family: Arial;"><br /></span>
<span style="font-family: Arial;">To anyone who is serious
about design, the answer to the question, “Is design science, or is it art?”
has to be a resounding, “Yes and No!”<span style="mso-spacerun: yes;">
</span>How can this be? Well, let’s start at the beginning and discuss Art and Science
as they relate to design. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">It is pretty obvious, that
Art has been around long before what we now call Science. So, in that context
we’ll begin with Art and design. In these instances, we’ll use the capitalized
noun to make a distinction between the field itself, Art / Science and the
lowercase noun, art / science, to indicate a particular instance in the field.
“<b style="mso-bidi-font-weight: normal;">A</b>rt”, for example will be the
generic term for the discussion that follows and “art” will be a specific work
or kind of art within the greater field. At the beginning of a sentence, the
bold letter will signify the field. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Homo habilis, roaming the earth
about 2 million years ago, was categorized as a hominid with skills in making
things. His categorical nomenclature meant, “handy man”. This Stone Age
predecessor to modern humans was already a competent designer but not yet an
artist. These early humans conceived of making tools to aid their lives. They
designed stone implements and crafted them by hand using tools & techniques
that they developed to carry out their design actions. They were the early designers
that establish the case that Design preceded Art and Science. The dating of the
first Stone Age implements and the age of their makers is not without
controversy, but the oldest dates when they were created precede works of art
by at least one million years. That begs the question, what is it am I calling Design?
<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Design in the Stone Age
probably began by a gradual refinement of knapping a stone to shape it into a
useful tool or implement. This evolutionary design probably didn’t begin with
an inspirational flash or an “ah-hah” moment. Even so, generations of
intentional effort to make and refine from rocks a conceived object like a
flint-knapped arrowhead, gave birth to the Design era.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">It is pretty obvious, that
Art has been around long before what we now call Science. So, in that context
let us begin by comparing Art with Design. Paleolithic evidence clearly shows that
the expression of thoughts, activities and feelings through Art, came at a
later stage in human species development than did Design. The first attention
given to Art began to show in the detailing of stone implements. Some
arrowheads for instance were made from selected stones and beautifully detailed
and crafted beyond the utilitarian necessity. Later examples of the expression
of Art were things like deer bone whistles, amulets & jewelry, and cave
paintings; these all being made real about 60,000 years ago. By this time Homo sapiens
was the dominant human species on earth, and their lifestyle was more advanced
and more sophisticated than their Homo habilis predecessors. The aesthetics of implements,
tools and weapons became part of the technology as Stone Age people advanced.
They made obvious efforts to create objects that had aesthetic qualities beyond
what simple utility required. <b style="mso-bidi-font-weight: normal;">A</b>rt
was being incorporated into the designed objects as well as having an
expression of its own. But Design did not become Art, nor did Art become design.
<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><br /></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">S</span></b><span style="font-family: Arial;">cience
didn’t enter the scene until relatively recently; coming into full form out of
the Enlightenment or the Age of Reason in the mid 17<sup>th</sup> Century. Of
course, the precursors to Science probably began long before when Homo sapiens
developed wonderment and curiosity about the world around them. The Egyptians,
Sumerians and Chinese around 4000-3000 B.C. were advanced enough in making and
recording observations and mathematical measurements to have been creating the
conceptual foundations of Science. And the Greeks, notably Socrates, Aristotle
and Plato, advanced Science by their philosophical methods of inquiry. As a
result today we see Science as seeking to find the truth about the nature of
things; searching for cause and effect in an effort to determine what and how
outcomes can be predetermined.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The “is/ought paradox” is one
of the central philosophical tenants and a crucial feature that distinguishes
Design from Science. Hume’s Law, as it is sometimes known, was postulated by
David Hume the Scottish philosopher (1711-1776). The aspect of this concept
critical to differentiating Science and Design can be illustrated by the difference
between Positivistic statements and Normative statements.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span style="mso-spacerun: yes;"> </span>Positivistic statements are Scientific and are
about describing that which <i style="mso-bidi-font-style: normal;">is.</i> In
other words, positivistic statements are descriptive statements about those
things which can be observed or experimentally proven to exist. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Normative statements are
ethical claims about how things ought to be. Kant and Aristotle asserted normative
statements have cognitive content and can be rationally discussed; that they
are more than just expressions of emotion. Normative statements are about
having that which should exist because it is the good or right thing to do. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><br /></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">D</span></b><span style="font-family: Arial;">esign
begins within the realm of “Desiderata”, <span style="color: black; mso-themecolor: text1;">(Nelson & Stolterman, 2012) </span>combined within a normative
statement context, and can emerge within the positive statement. <b style="mso-bidi-font-weight: normal;">D</b>esign may emerge as a Positive
statement once a design becomes a particularized outcome. It can be seen as a
Positive statement because it can be modeled, examined, and analyzed. At that
stage a design can be in part described scientifically. But prior to the
emergence of a positivistic design concept, there is nothing there to be described
analytically. At the beginning, Design as a concrete addition to the world is
in the process of being created, but it does not yet exist.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><br /></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">D</span></b><span style="font-family: Arial;">esign
originates out of a notion, a need, or a desire (desiderata) for something that
isn’t yet a reality. That is not Science because you cannot make a positive statement
about something that doesn’t exist – something that isn’t even fully formed in
the imagination. You can, however, make a normative statement about something
that <i style="mso-bidi-font-style: normal;">ought </i>(ethical declaration) to
exist.<span style="mso-spacerun: yes;"> </span>But, a particular design does
not have to be morally or ethically good to be created. An example of this
would be the economic system based on the free labor of slaves. That was a
design that was good for many who were not slaves, but horribly bad for those
who suffered under the yoke of oppression; thus the focus on desiderata.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span style="mso-spacerun: yes;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I would submit that discussing
Design requires the introduction of yet another “statement” to be fully
understood. That would be the postulate as to what <i style="mso-bidi-font-style: normal;">might be</i>, or something that would be desired to be made to exist. In
the beginning of the Design process, there is nothing, and there is everything.
Anything is possible until it is put through the rigors of becoming a reality.
Until a design is conceptualized, it isn’t real. A design begins before it is
even an idea. It doesn’t begin as a scientific fact, it begins as a
potentiality.<span style="mso-spacerun: yes;"> </span>The Design statement is
about creating that which “might” exist or is desired to exist without any
moral or ethical attribute required. That quality arises out of the judgment of
the designer in service of a client.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">This is not to say that
Design does not have moral or ethical intent or outcomes. It does. It also has
emergent qualities and unintentional consequences that cannot always be
predetermined. This is not unique to Design. <b style="mso-bidi-font-weight: normal;">A</b>rt and Science too have negative as well as positive consequences,
but they are handled in different ways unique to the particular discipline.
Negative effects can become real aspects as a design becomes actualized. It is
the responsibility of the designer to exercise judgment throughout the Design
process to mitigate the unwanted effects. But it is impossible to foresee them
all. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">One of the ways designers
can mitigate unwanted effects is to design with, within, and without systems.
This is what Dr. Harold Nelson and others call “Systemic.” What this means is
design has an attribute of systemics that is integral to it. Understand it and
use it, or not, that attribute will be a part of anything a designer does.
Using and understanding it enables the designer to give consideration to the
systems that are affected and the effects of those systems upon the design.
Systemic Design does not mean the “design of systems”. Systems Design is the
term that is commonly used to describe that. <b style="mso-bidi-font-weight: normal;">D</b>esign obviously can be used to create systems of all kinds from
digitalized technology to analog modeling as well as social systems,
organizational systems and so on. The term Systemic Design is intended to mean
the concept of how Design interacts with systems that embed the design, systems
that the design creates and uses, and systems upon which the design has
influence and relationships which in turn influence the design itself. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">“<b style="mso-bidi-font-weight: normal;">D</b>esign within systems” means creating with the intention of being
aware of the systems around the design which can be judged to have significant
influence and interaction. This means not only systems that actually interface
with the design but also remote systems and adjacencies as well. An example of
this would be using science and technology to reach out beyond the design
itself. Another would be to use art for historical reference or meaning.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">“<b style="mso-bidi-font-weight: normal;">D</b>esigning with systems” means designing the systems that are
incorporated into the design system itself. An example of this would be using
structural design system for the supporting framework for architecture. Another
would be the use of artworks to enhance the interior spaces of the
architecture.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">In Designing with systems
and Designing within systems it can be seen how Art and Science are two systems
that are essential to Systemic Design. But neither Art nor Science fully encapsulate
nor define the universe of Design.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">“<b style="mso-bidi-font-weight: normal;">D</b>esign without systems” has a triple meaning. Firstly, it means not
considering systems at all in the design. This is not possible to do with any
complex design because the systems are such an integral part of the process,
and it may not be possible to do with any design even though the systems relative
to simplex designs may not be readily apparent. Secondly, it means to design
for intangibles that are not real systems, like future generations and
non-represented entities. Thirdly, “Design without systems” means to be designing
from the spaces between systems. Designing from the spaces between systems is a
more difficult concept. So, before discussing this, it would be helpful to
create a schema of a whole Design system.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Visualize a froth of bubbles,
occupying space in all directions. Each individual bubble represents a system
that is in some way individually categorized. Deep within this froth there exists
a bubble that represents the design. In the beginning stages the design bubble
is tiny and because of its size, the number of adjacent bubbles that can have
contact with it is few. As the design begins grows its perimeter boundary increases
in size. The number of contacts the design bubble makes with adjacent bubbles
increases as the larger surface boundary of the design bubble expands. Some of
the bubbles adjacent to the design bubble become a part of it as the boundary
film between bubbles disappears. Or in some cases, whole bubbles occur inside
the design bubble, and literally change the content of the design bubble. When
the design is complete, the bubble froth has changed from its original form.
Some bubbles have joined with others in different configurations. Some bubbles
will have changed size and some will have been incorporated into bigger
bubbles. And, some bubbles will have popped! These changes of the froth are a
metaphor for the emergent qualities and the unintended consequences of the
environmental system which itself is represented by the changed froth which still
contains the design bubble. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The environmental system is delimited
by the intentional creation of a system boundary. In a universal sense, the
froth of systems has no boundary. But to bring the Systemic Design bubble into
reality, a limit has to be imposed upon the infinite froth of systems for the
design process to take place. That boundary can be open or closed; allowing the
change of the system bubbles in the froth to respond accordingly. But at some
point the bounded froth of systems has to become finite in order for the design
bubble to emerge. Otherwise the design bubble will just continue to change as
the environment adjusts to its growth. Ideally, the limiting boundary will be
closed when only negligible effects are caused. Putting a boundary around the
froth of systems would be analogous to creating a Whole System. So then how
does this help explain the concept of designing “without systems?”<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><br /></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">D</span></b><span style="font-family: Arial;">esigning
“Without Systems” in the third instance mentioned above is to grasp the meaning
of the spaces between systems. Again consider the froth metaphor of systems.
Each bubble has a boundary. Boundaries between bubbles interface with each
other when they make contact and the boundary itself becomes part of each. But
the boundary itself is made of “something.” In the actual application of
boundaries of systems, part of that something is the criteria used by the
designer when using Design judgment and wisdom in creation of the boundary.
Other attributes of the boundary layer are the quality, kind, and extent of the
interface among systems. And the boundary interface represents the effects of
the systems on one another.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">With this image as an aid,
one can begin to understand how Whole Systems and Systemic Designs are
composed. The relationship with systems is one characteristic of Design that
identifies it as being different from Art and Science. Even though they both
have their own relationships with systems they are different to each particular
field. The systems in the environment of each field are themselves varied and
different. Yet, nearly always Art and Science interface with Design and they
become systemically connected together.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Returning then to the
original inquiry, “is Design Art, or is it Science?” the paradoxical answer
remains the same; yes and no. Each; Art, Science, and Design is a unique field
of human endeavor having its own individual characteristics, protocols, outcomes,
and intentions. And each is systemically interrelated to the other. <b style="mso-bidi-font-weight: normal;">D</b>esign is Design and as such it engages
with both Science and Art incorporating aspects of both while wholly belonging
to neither. But finally, Design is very different and unique from Art and
Science and is more than both. It is Design.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><br /></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">References:<o:p></o:p></span></div>
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Erik Stolterman Bergqvisthttp://www.blogger.com/profile/10368024740643883412noreply@blogger.com0tag:blogger.com,1999:blog-8494274204915010252.post-28615277469042744272013-06-09T14:18:00.002-07:002013-06-10T14:33:43.805-07:00schema for improving design education<!--[if !mso]>
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<o:p> </o:p>Reviewing Don Norman’s most <a href="http://www.core77.com/blog/columns/rethinking_design_thinking_24579.asp">recent blog</a> on design thinking on Core 77’s <a href="http://www.core77.com/">site</a>, I was drawn to an earlier post by Norman on the need for <a href="http://www.core77.com/blog/columns/why_design_education_must_change_17993.asp">design education to change</a>. I agree that design education needs to change but for other reasons than posted in Norman’s piece. I don’t think design should be scientized or that designers need to become design scientists. I believe that good science is important to the work of designers and that designers need to work with competent scientists, and know how to recognize good science when they see it. It is ideal to have good scientists focused on researching design related issues. For example, sociologists and anthropologists can contribute descriptions and explanations of human behavior to the processes of design inquiry and action, thus assuring better outcomes in the end.</div>
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Design is not just a form of science anymore than it is just a form of art. It is disciplined and rational but it has its own fundamental postulates which include, but are not limited to, those underlying science. Design education therefore needs to be changed to reflect these fundamentals. Design education takes place in informal as well as formal settings. Norman’s challenge in his post focuses on the shortcomings of formal design education. I believe he sees so much bad science from design students and practitioners because of undergraduate and graduate program designs. These academic educational designs—intended for the education of scientists—are unfortunately adopted by evolving design programs.<o:p></o:p></div>
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Following Norman’s advice to make designers better by making them better scientists would not improve design education nor design practice. As Russell Ackoff said in reference to the <a href="http://www.acasa.upenn.edu/RLAConfPaper.pdf">need to change the systems movement</a>, “the righter you do the wrong thing, the wronger you get” , which is apropos to redesigning design education.</div>
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An example of a design education schema—reflecting the hierarchy of significance associated with design learning outcomes—shows that learning outcomes based on scientific inquiry are positioned at the first order of learning outcomes, while practice based education tops out at the third order of learning outcomes(too often skipping the second level).<o:p></o:p></div>
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<a href="http://4.bp.blogspot.com/-HI6-nWUqWBM/UbTuRhSm_MI/AAAAAAAAATk/oauf1zMf7Q4/s1600/orders+of+learning+3rd+&+4th.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="http://4.bp.blogspot.com/-HI6-nWUqWBM/UbTuRhSm_MI/AAAAAAAAATk/oauf1zMf7Q4/s400/orders+of+learning+3rd+&+4th.png" width="400" /></a></div>
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<b><span style="font-size: 14pt;">hierarchy of significance of design learning outcomes<o:p></o:p></span></b></div>
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Improving design education in response to this hierarchy of learning outcomes would require that design students be assisted in learning how to create design schema—the fourth order—and to engage in a life-long learning quest to understand the nature of ‘purpose’ in design—the fifth order—and ‘direction’ in design—the sixth order. The priority in changing design education should be to focus on developing competencies used in schema development and use. Without that competency in place the fifth and sixth orders would remain out of reach as learning outcomes in design education.<o:p></o:p></div>
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This is just one schema reflecting the unique nature of design and thus the unique challenge of design education. There are many others waiting to be developed and applied.</div>
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<!--EndFragment-->Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-8494274204915010252.post-34168347648929267572013-05-28T11:13:00.001-07:002013-05-28T11:13:11.914-07:00MIT discount offer<table border="0" cellpadding="0" cellspacing="0" style="background-color: #f4f4f4; border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px; width: 100%px;"><tbody>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8494274204915010252.post-16278970455646652052013-05-21T16:16:00.001-07:002013-05-21T16:16:31.646-07:00SAP book review<br />
<h1 style="color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 1.7em; letter-spacing: -0.05em; line-height: 16pt; margin-top: 5px;">
Book Review: The Design Way</h1>
<div style="color: #333333; font-family: arial, sans-serif; font-size: 12px; line-height: 16px; margin-bottom: 5px;">
<a href="http://www.sapdesignguild.org/community/book_people/review_design_way.asp#book" style="color: #0066b3; text-decoration: none;">Book</a> | <a href="http://www.sapdesignguild.org/community/book_people/review_design_way.asp#authors" style="color: #0066b3; text-decoration: none;">Authors</a> | <a href="http://www.sapdesignguild.org/community/book_people/review_design_way.asp#review" style="color: #0066b3; text-decoration: none;">Review</a></div>
<div style="color: #333333; font-family: arial, sans-serif; font-size: 12px; line-height: 16px; margin-bottom: 5px;">
<i>By <a href="mailto:gerd.waloszek@sap.com" style="color: #0066b3; text-decoration: none;">Gerd Waloszek</a></i>,<i> Design & Front Line Apps, SAP AG </i><i>– <b><span style="color: red;"></span></b>May 21, 2013</i></div>
<div style="color: #333333; font-family: arial, sans-serif; font-size: 12px; line-height: 16px; margin-bottom: 5px;">
"This <a href="http://www.sapdesignguild.org/community/book_people/review_design_way.asp">review</a> takes a personal look at Harold G. Nelson's and Erik Stolterman's book <i>The Design Way – Intentional Change in an Unpredictable World (2nd Ed.)</i>. Not having read the first edition, I will base my review solely on the second edition and also will not discuss any changes from the first to the second edition."</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8494274204915010252.post-5765404934211724182013-05-13T11:32:00.002-07:002013-05-13T11:32:38.108-07:00Reminder: Symposium abstract deadlineReminder that May 15 is the deadline for abstracts for the Systemic Design symposium:<br />
<br />
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<span style="font-family: Helvetica; mso-bidi-font-family: Tahoma; mso-bidi-font-weight: bold;"><a href="http://systemic-design.net/">Emerging Contexts for Systemic Design</a></span><span style="font-family: Helvetica;"><o:p></o:p></span></div>
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<!--EndFragment-->Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8494274204915010252.post-30092279519805917262013-04-29T10:41:00.000-07:002013-04-29T10:41:07.703-07:00systems thinking & design symposium deadline expanded
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<b><span style="font-family: Tahoma; font-size: 34.0pt;">Relating
Systems Thinking & Design 2013<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span style="font-family: Tahoma; font-size: 20.0pt;">Emerging
Contexts for Systemic Design<o:p></o:p></span></b></div>
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<span style="color: #262626; font-family: Arial; font-size: 18.0pt;">Symposium Deadline is expanded<o:p></o:p></span></div>
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<span style="color: #262626; font-family: Arial;">The
Deadline for abstract submission to the RSTD2 symposium is expanded to 15th May<o:p></o:p></span></div>
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<span style="color: #262626; font-family: Arial;">We are
looking forward to your contributions!<o:p></o:p></span></div>
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<span style="color: #262626; font-family: Arial;">Please visit
the Symposium website on <span style="color: #262626;"><a href="http://www.systemic-design.net/">www.systemic-design.net</a> </span></span><o:p></o:p></div>
<!--EndFragment-->Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8494274204915010252.post-45238142358589587892013-03-27T04:30:00.000-07:002013-03-27T04:30:04.499-07:00The Evil of Design<span style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;">Even though I (Erik Stolterman) am happy to see the wonderful push for design thinking and a designerly approach today in academia and in business, it is also a bit disturbing to see the lack of critical thinking about design. Design as an approach is today by many seen as the silver bullet to almost any kind of problem. A design approach is considered to be able to deal with any kind of situation. I do agree that design as an approach is powerful, maybe more so than many believe even among those who advocate it. I do agree that many issues today should be approached in a designerly way. But it is also crucial to remember that design as an approach is not inherently good.</span><br />
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<br /></div>
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Almost all things that scare us and make our lives difficult and dangerous are designed. Some of the most wonderful examples of great design are also considered to be manifestations of evil. Humans design wars, genoside, weapons of destruction, and maybe even more extraordinary but less obvious designs aimed at suppressing people (such as political, governing or business structures), sometimes even in combination with wonderful 'user' experiences that makes people appreciate being oppressed (what a great design!).</div>
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<br /></div>
<div style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;">
In this new emerging era of design thinking and designerly approaches it is important to remember that design is only an approach--it is a process. It is a powerful approach, but there is no guarantor that the outcome will be good design and there is no guarantee that the design process will not lead to evil designs. At the end of the day, it all comes down to the character of the designer. Values and beliefs guides and shapes the judgements made by the designer. Developing design competence therefore means developing once personal character as well as once design thinking ability. </div>
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Anyone engaging in design in a serious way therefore has to be constantly aware of and reflect on the 'nature' of design and also be highly critical of any simple versions of design that promises processes that will lead to good results in some 'automatic' prescriptive guaranteed way. Critical thinking is as important in design as in science.</div>
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[In the book "The Design Way" these issues are discussed in the chapters "The Evil of Design" and "The Guarantor-of-Design (g.o.d.)"]</div>
Erik Stolterman Bergqvisthttp://www.blogger.com/profile/10368024740643883412noreply@blogger.com0tag:blogger.com,1999:blog-8494274204915010252.post-12509335512753611902013-03-16T10:18:00.000-07:002013-03-16T10:18:29.176-07:00systemic design call for abstracts<br />
<div style="font-family: Tahoma; font-size: 12px;">
<b><a href="http://systemic-design.net/">Relating Systems Thinking & Design 2013</a></b></div>
<div style="font-family: Tahoma; font-size: 12px; margin-bottom: 4px;">
<b>Emerging Contexts for Systemic Design</b></div>
<div style="font-family: Tahoma; font-size: 12px; margin-bottom: 16px;">
<span style="color: #f75004;"><a href="http://www.aho.no/"><b>AHO – Oslo School of Architecture & Design </b></a></span> Oslo, Norway 9th-11th October 2013</div>
<div style="font-family: Tahoma; font-size: 12px; margin-bottom: 16px;">
Relating Systems Thinking and Design is a free and open symposium over two days with a preceeding full day with diverse workshops and a subsequent special issue in <a href="http://www.formakademisk.org/"><span style="color: #f75004;"><b>FORMakademisk</b></span></a>. We encourage you to submit your abstracts and to concider joining the workshops. We are interrested in both work in progress and more developed contributions.</div>
<div style="font-family: Tahoma; font-size: 12px; margin-bottom: 16px;">
9th October: Workshops</div>
<div style="font-family: Tahoma; font-size: 12px; margin-bottom: 16px;">
1oth – 11th October: Symposium</div>
<div style="font-family: Tahoma; font-size: 12px; margin-bottom: 16px;">
<br /></div>
<div style="font-family: Tahoma; font-size: 12px; margin-bottom: 16px;">
<b>Call for abstracts</b></div>
<div style="font-family: Tahoma; font-size: 12px; margin-bottom: 16px;">
The emerging renaissance of systems thinking in design responds to the increasing complexity in all challenges faced by designers and transdisciplinary innovators. Our worlds have become too complex for linear and goal-driven management, resulting in hopelessly complicated social, economic, and political systems. The global demand for sustainability, democratic economies, and the emerging social arrangements for better education, employment, and development have become too complex for conventional thinking.</div>
<div style="font-family: Tahoma; font-size: 12px; margin-bottom: 16px;">
The interrelationship between systems thinking and design action was the theme of <a href="http://www.systemsorienteddesign.net/index.php/rsd-seminar"><span style="color: #f75004;"><b>last years RSD seminar</b></span></a> at the <a href="http://aho.nor/"><span style="color: #f75004;"><b>Oslo School of Architecture and Design</b></span></a>. In re-examining the relationship of systems thinking to design we believe it possible for systems thinking and design praxis to develop the foundations for new, interrelated practices. This synergistic relationship will launch a new generation of systems-oriented thinkers empowered with the creativity and perspectives of design thinking. As educators and researchers, we also seek better theoretical foundations and rigor in design thinking.</div>
<div style="font-family: Tahoma; font-size: 12px; margin-bottom: 16px;">
We areare interested in proposals that draw from recent case studies from fieldwork, design inquiry and research, and mixed methods in systems-oriented design.</div>
<div style="font-family: Tahoma; font-size: 12px; margin-bottom: 16px;">
Sociotechnical, service, and activity systems are characterized by highly complex and emergent human-system relationships, and benefit from nonlinear and creative design practices and engaged research perspectives. Design practices found effective in fields such as healthcare, governance, environmental stewardship, organizational management and social change, are of particular interest for cases and discussion in the conference.</div>
<div style="font-family: Tahoma; font-size: 12px; margin-bottom: 16px;">
Systemic Design has been suggested as a term for this emerging movement in design with its multiple expressions including e.g. <a href="http://www.systemsorienteddesign.net/"><span style="color: #f75004;"><b>Systems Oriented Design</b></span></a>, Whole Systems Design, and is closely related to Dialogic Design. What binds systems related theories and practices together with design approaches may be the desire to reintroduce systems approaches with design toward a more effective integrated praxis, becoming more useful to designers (and stakeholders and clients) than evidenced by past performance. This implies the reshaping and design of systems approaches and the related practices so that they are better integrated into design processes.</div>
<div style="font-family: Tahoma; font-size: 12px; margin-bottom: 16px;">
We invite you to submit an abstract of maximum 1000 words within the following themes:</div>
<ul>
<li style="font-family: Tahoma; font-size: 12px; margin: 0px;">¥<span class="Apple-tab-span" style="white-space: pre;"> </span>New systemic practices in design</li>
<li style="font-family: Tahoma; font-size: 12px; margin: 0px;">¥<span class="Apple-tab-span" style="white-space: pre;"> </span>Rethinking systems approaches from a design perspective</li>
<li style="font-family: Tahoma; font-size: 12px; margin: 0px;">¥<span class="Apple-tab-span" style="white-space: pre;"> </span>Relating Design Praxis and Systems Thinking</li>
<li style="font-family: Tahoma; font-size: 12px; margin: 0px;">¥<span class="Apple-tab-span" style="white-space: pre;"> </span>The role of systemic design when developing design practices in new areas</li>
<li style="font-family: Tahoma; font-size: 12px; margin: 0px;">¥<span class="Apple-tab-span" style="white-space: pre;"> </span>Teaching (systemic design or), systems thinking in design. (or design in systems approaches)</li>
<li style="font-family: Tahoma; font-size: 12px; margin: 0px;">¥<span class="Apple-tab-span" style="white-space: pre;"> </span>Relating systems and design theories, conceptually and pragmatically</li>
</ul>
<div style="font-family: Tahoma; font-size: 12px; margin-bottom: 16px;">
<br /></div>
<div style="font-family: Tahoma; font-size: 12px; margin-bottom: 16px;">
<b>Deadline for abstracts is 1st May</b></div>
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Accepted abstracts will be asked to submit a presentation.</div>
<div style="font-family: Tahoma; font-size: 12px; margin-bottom: 16px;">
<br /></div>
<div style="font-family: Tahoma; font-size: 12px; margin-bottom: 16px;">
<b>The best presentations will after the symposium be invited by the program committee to submit a full paper to be published in a planned special issue in the Norwegian bilingual scientific design research journal </b><a href="http://www.formakademisk.org/"><span style="color: #f75004;"><b>FORMakademisk</b></span></a><b>. These papers will go through a blind peer review evaluation process as normal for this journal. See the journal website for details.</b></div>
<div style="font-family: Tahoma; font-size: 12px; margin-bottom: 16px;">
Email questions to:</div>
<div style="font-family: Tahoma; font-size: 12px;">
birger.sevaldson@aho.no</div>
<div>
<br /></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8494274204915010252.post-54981648247506807252013-01-23T11:02:00.002-08:002013-01-23T11:06:20.100-08:00Design education – IDEO and Apple<!--[if gte mso 9]><xml>
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There has been a lot of criticism of academic programs recently—probably deserved—accompanied by the growth of cult followers of university dropouts
who have become millionaires and billionaires in business. This feeds into the generally accepted belief
that Americans are anti-intellectual and pragmatic. Too often degrees are merely pursued for
credentialing purposes and not the
development of expertise and competence. Russell Ackoff—a past Emeritus Professor at the
Wharton School at the University of Pennsylvania—claimed that the vaunted MBA
program at Wharton was valuable primarily for professional networking and not for learning
how to manage organizational systems.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The design of good formal learning experiences and the
preparation of people to remain life long learners during their working lives
remains an ongoing challenge. The design of degree programs at universities—from
a systemic perspective —needs some serous designerly attention. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This is particularly true for degree programs focused on
preparing practitioners in the various formally defined design fields. These
programs—despite their titles—are not design ‘process’ focused but design ‘solution’
focused fields. The assumed solutions are: architecture, products, graphics, software
etc. etc. The process of getting to such solutions in response to well formed design
questions is not addressed.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Learning is too often treated as a shopping experience.
Students are offered a shopping cart full of individualized elements in the
same way that a shopper would load up on cans, packages and bottles of foodstuff
at the grocery store. However, in order for all these groceries to be turned
into prepared meals and culinary experiences the individual items need to be
proportioned, mixed, blended and transformed into integrated and emergent
wholes—and not merely added to summative pile of stuff. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Learning is, or should be, a similar integrative process. It
is not just a process of collecting a variety of learning experiences. It is a
process of selecting, composing and connecting parts into wholes. It would seem
natural that design academics would see that the fundamental nature of a learning process
is the same as a design process. Too often, this doesn’t seem to be the case.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
For example in a recent <a href="http://www.cbsnews.com/video/watch/?id=50138327n">interview</a> by Charlie Rose of
David Kelley of IDEO fame and the Stanford D School, Kelley explained that the
D School did not give any degrees in design because Steve Jobs of Apple Inc.
fame—an unsurpassed champion of elegant industrial design but not a designer or
an educator himself—told Kelley he did not want to deal with any graduates with ‘flaky’
degrees from Stanford. He wanted people from traditional academic programs—e.g.
business, science etc.—with design training. Stanford’s Design degree—an
aggregation of a fine arts degree and an engineering degree—is their example of
how to avoid a ‘flaky’ design degree.</div>
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<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Interdisciplinary or multidisciplinary degrees—that are inclusive
of training in design—are not sufficient for good professional preparation for
the practice of design in today’s complex, interconnected and fast paced world. However, they carry credibility in academic and professional networks focused on credentials rather than
competence, which is why they will remain marketable. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Traditional models of academic degrees are not good models
for formal preparation for design practice. First of all because design is not
a discipline in the traditional academic sense and secondly, design learning is not an
aggregative process as found in the traditional academic degree processes. What is
sorely needed—and will probably not happen in traditional academic institutions—is
a serious design approach to recreating formal design learning processes that provides solid preparation for more sustainable and systemic design praxis in the future. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It will help when decision makers and stakeholders sincerely
stop asking for ‘innovation’ while remaining hostile to ‘flaky’ ideas—i.e.
ideas that look unfamiliar to them rather than familiar.<o:p></o:p></div>
<!--EndFragment-->Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8494274204915010252.post-82434716278560737552012-12-17T16:15:00.000-08:002012-12-17T16:15:18.868-08:00call for papers: Designing Design Education in IndiaA call for papers has gone out for a conference in Pune India this Spring called <a href="http://www.ddei.in/">Designing Design Education in India</a>. India has taken leadership in championing design in recent years and this should be an exciting conference.Unknownnoreply@blogger.com7tag:blogger.com,1999:blog-8494274204915010252.post-22002715977513776682012-10-28T11:32:00.000-07:002012-10-28T11:41:58.398-07:00Design's expanding domainsRecently an excellent article by Tom Fisher, the Dean of the School of Design at the U. Minnesota, titled <a href="http://places.designobserver.com/feature/design-invisible-century/32858/">Design's Invisible Century</a>, provided an exceptional frame for understanding the evolving nature of design. The article makes a contrast with science's 'invisible' century, the 20th Century, when scientist thought they had 'seen' everything and suddenly the sciences of the 'unseen' realms of physics, chemistry, and psychology et. al. exploded into 'view' resulting in a scientific renaissance. The case is made in the article that design is now facing the same sort of renaissance in the 21st Century, in the realms of the 'invisible', as did science in the last century.<br />
<br />
Most formalized design fields are defined by their domains of 'visibility' but design is expanding into more 'invisible' domains. An example is design's expansion into other professions such as management. A seminal conference was hosted at Case Western's business school titled '<a href="http://www.youtube.com/watch?v=QGmP2NX0zzY&feature=g-upl">Managing as Designing</a>' which resulted in the publication of a book by the same name published by Stanford University Press. Another example is the Rotman School of Business in the U. Toronto, which has made a serious commitment to design. Around the world there are university programs combining business and design in the planning or implementation stages.<br />
<br />
Design is moving into the domains of public policy, business and military strategy, and other 'invisible' domains of human activity. New forms of designing and new types of designers are emerging as well. Some designers from the 'visible' traditions of design are forming up to 'design behavior' or other interventions into 'unseen' worlds but that of course is dangerous without them making changes in their design practices and character. Ones that are a better fit for the task of making the 'invisible' 'visible'.Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-8494274204915010252.post-23917000348284109432012-10-24T05:25:00.000-07:002012-10-24T05:25:20.386-07:00Nierenberg Lecture 2009 - Nelson<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-IUDe4eDh-r8/UIfdm-A2DMI/AAAAAAAAAK8/lZmhWBWE1oQ/s1600/vimeo+Nierenberg+photo.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="227" src="http://3.bp.blogspot.com/-IUDe4eDh-r8/UIfdm-A2DMI/AAAAAAAAAK8/lZmhWBWE1oQ/s320/vimeo+Nierenberg+photo.png" width="320" /></a></div>
<br />
<br />
<div style="text-align: center;">
<a href="https://vimeo.com/52040190">Harold Nelson's Nierenberg Distinguished Professor of Design Lecture, Carnegie Mellon University, 2009</a></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8494274204915010252.post-70845487553933609842012-10-15T15:43:00.000-07:002012-10-15T15:43:00.920-07:00The Design Way at SHOT Conference<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-_PsJOBz3EkY/UHyQ52V4LoI/AAAAAAAAAKE/bigs7oY0NUg/s1600/Erik's+facebook+phot+SHOT.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-_PsJOBz3EkY/UHyQ52V4LoI/AAAAAAAAAKE/bigs7oY0NUg/s1600/Erik's+facebook+phot+SHOT.png" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
The Design Way made an appearance at the SHOT (Society for History of Technology) conference a few days ago in Denmark. The photo was posted to Erik Stolterman's Facebook page.</div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8494274204915010252.post-12568834014468327132012-09-16T13:08:00.002-07:002012-09-16T13:08:58.086-07:00at Barnes & Noble<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-lWewGPIkxbM/UFYx0afsEdI/AAAAAAAAAIo/sk4irIVClcg/s1600/DW+BN+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://1.bp.blogspot.com/-lWewGPIkxbM/UFYx0afsEdI/AAAAAAAAAIo/sk4irIVClcg/s320/DW+BN+3.jpg" width="320" /></a></div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8494274204915010252.post-20810907130130426752012-09-14T07:16:00.002-07:002012-09-14T07:16:49.993-07:00systemics — the logic of designI will be presenting a talk: Systemics - The Logic of Design, at an invited <a href="http://www.systemsorienteddesign.net/">gathering</a> of design scholars and practitioners hosted by the Systems Oriented Design program at AHO (architecture and design) University in Oslo Norway the 1st week of October. I will make the case that rather than looking at a conjunction between 'systems thinking' and 'design thinking' we should look at design and systemics as inseparable from one another: i.e. systemics as the logic of design.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8494274204915010252.post-21243762010236268552012-08-04T16:08:00.000-07:002012-08-04T16:08:30.856-07:00Unifying the Practical & Theoretical<br />
<div class="MsoNormal">
A recent blog on the third alternative to the usual argument
concerning the primacy or preference between <a href="http://accidentalvagrant.blogspot.com/">expert and generalist</a> brings
to mind another all too common dualism expressed consistently by the general
public in the U.S.—particularly in organizational settings. This is the
constant gripe that something is too abstract, too theoretical, too unrealistic
or too pie-in-the-sky and not practical enough for the real world (This is a
different gripe from the one stating that something is too hard to understand.).
So what exactly do people (including students who are intent on getting employed in
the real world) mean by ‘practical’ and why is it always expressed as a polar
opposite to theory or reflective thought? <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The dominant approach to teaching in formal and informal
educational programs is one of training rather than education. Training is felt
to be practical, something that can be taken from the class room or workshop
into the work place immediately and put to good use. Training is a process of
matching input to output—what you are shown is what you demonstrate you can do.
Students are tested to make sure the expected outcome is what they demonstrate
to the instructor given the instructor’s input.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The consequence is that people do things without
understanding or reflecting on <i style="mso-bidi-font-style: normal;">why</i>
they are doing what they are doing and the way they are doing it. Worse, they too
often show little interest in becoming more reflective and thoughtful about why
they do what they do in any particular situation. In a manner of speaking, they take pride in taking ‘thoughtless’
acts, in being ‘men(sic) of action’ rather than giving time and energy over to ‘naval
gazing’ or some other obvious waste of serious effort.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 1.0in;">
<i><span style="font-family: Georgia; mso-bidi-font-family: Georgia;">“Rarely do we find men who willingly engage in
hard, solid thinking. There is an almost universal quest for easy answers and
half-baked solutions. Nothing pains some people more than having to think.”</span></i></div>
<div class="MsoNormal" style="margin-left: 1.0in;">
<span style="font-family: Georgia; mso-bidi-font-family: Georgia;">Martin Luther King,
Jr</span><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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<br /></div>
<div class="MsoNormal">
The pejorative spin put on reflective thought or thinking by
those championing a totalizing focus on ‘practical’ action reflects a cultural norm in too
many organizations and institutions. The split between thinking and action is
an old polarization in the Western tradition. This split however is not
something that should be celebrated and protected going into the future. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
A recent article in the <a href="http://opinionator.blogs.nytimes.com/2012/05/06/the-practical-and-the-theoretical/">New York Times</a> is an example of
people beginning to realize that the split is not only unnecessary but a bad
idea in ‘reality’. Knowing what direction your going in is as important as
taking the first step. Skills, tools and technology are without productive
value unless used for the right reason, in the right places, for the right
people at the right time—all of which takes caretaking, deliberation,
reflection and consideration. The habit of taking ‘sound shots’ (When hunters
fire at sounds they hear in the woods rather than at animals they see.) in the
real world is demonstratively unsustainable. <o:p></o:p></div>
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Wisdom is the reconstitution of thinking and action, of theory and practicality. Wisdom is 'reflective' action.<o:p></o:p></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8494274204915010252.post-65198215971297234092012-06-30T12:33:00.000-07:002012-06-30T12:33:11.336-07:00The web site for the 2nd Edition of The Design Way has gone live:<br />
<br />
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The Design Way site<o:p></o:p></div>
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<!--EndFragment-->Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-8494274204915010252.post-43772566909260223712012-04-19T13:51:00.002-07:002012-04-19T13:51:30.692-07:00Looking at Design: Keynote by Harold Nelson<br />
<br />
<a href="http://www.knowledge-through-design.uni-kiel.de/">http://www.knowledge-through-design.uni-kiel.de/</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8494274204915010252.post-87615326478823251272012-03-08T09:08:00.000-08:002012-03-08T09:08:00.324-08:00Coming soon!<br />
<br />
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<br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Helvetica; mso-bidi-font-family: Courier;">The Design Way</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: Helvetica; font-size: 16.0pt; mso-bidi-font-family: Courier;"><o:p></o:p></span></b></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Helvetica; mso-bidi-font-family: Courier;">Intentional Change
in an Unpredictable World</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: Helvetica; font-size: 16.0pt; mso-bidi-font-family: Courier;"><o:p></o:p></span></b></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: Helvetica; mso-bidi-font-family: Courier;">Second Edition, MIT Press (2012)</span><span style="font-family: Helvetica; font-size: 16.0pt; mso-bidi-font-family: Courier;"><o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: Helvetica; mso-bidi-font-family: Courier;">Harold G. Nelson and Erik Stolterman</span><span style="font-family: Helvetica; font-size: 16.0pt; mso-bidi-font-family: Courier;"><o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Helvetica; mso-bidi-font-family: Courier;">Humans did not discover fire--they designed it. Design is not defined
by software programs, blueprints, or font choice. When we create new
things--technologies, organizations, processes, systems, environments, ways of
thinking--we engage in design. With this expansive view of design as their
premise, in <u>The Design Way</u>, Harold Nelson and Erik Stolterman make the
case for design as its own culture of inquiry and action. They offer not a
recipe for design practice or theorizing but a formulation of design culture’s
fundamental core of ideas. These ideas--which form “the design way”--are
applicable to an infinite variety of design domains, from such traditional
fields as architecture and graphic design to such nontraditional design areas
as organizational, educational, interaction and healthcare design.</span><span style="font-family: Helvetica; font-size: 16.0pt; mso-bidi-font-family: Courier;"><o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: Helvetica; mso-bidi-font-family: Courier;"> Nelson and Stolterman present design culture
in terms of foundations (first principles), fundamentals (core concepts), and
metaphysics, and then discuss these issues from both learner’s and
practitioner’s perspectives. The text of this second edition is accompanied by
new detailed images, “schemas” that visualize, conceptualize, and structure the
authors’ understanding of design inquiry. This text itself has been revised and
expanded throughout, in part in response to reader feedback.</span><span style="font-family: Helvetica; font-size: 16.0pt; mso-bidi-font-family: Courier;"><o:p></o:p></span></div>
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<br /></div>
<span style="font-family: Helvetica; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier; mso-bidi-language: AR-SA; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Harold
G. Nelson was 2009–2010 Distinguished Professor of Design at Carnegie Mellon
University and is currently Senior Instructor in the Graduate School of
Business and Public Policy at the Naval Postgraduate School and President of
Advanced Design Institute. Erik Stolterman is Professor of Informatics and
Dept. Chair in the School of Informatics and computing at Indiana University
Bloomington</span><!--EndFragment-->Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-8494274204915010252.post-48153141463122728852012-01-10T12:19:00.000-08:002012-01-12T11:41:20.602-08:00The reclamation of endangered or abandoned ideasClaims by idea assassins that systems thinking is dead,
design thinking is dead, innovation is dead, are attempts to claim credit for hits never consummated. In addition, some consultants are famous for taking good ideas and
turning them into fads. Businesses and governmental agencies are famous for
taking fads and turning them into bad ideas that are then abandoned by both when
the oversimplified or misshaped concepts fail to deliver cheap or easy
solutions. Whether declared dead or abandoned the ideas remain viable in the
right environments in interaction with the right people.<br />
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<o:p></o:p></div>
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<br /></div>
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For example the term innovation is used in ways that make it
difficult to discern what someone actually means when they are championing it
or abandoning it. Is it creativity, is it implementation, is it market share,
is it....? When innovation is <a href="http://www.businessweek.com/innovate/NussbaumOnDesign/archives/2008/12/innovation_is_d.html">declared dead</a> what actually is being declared
to be no longer among us? <o:p></o:p></div>
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<br /></div>
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Innovation has been assumed up to the present to be a
positive thing (where alive and well). If we assume the term means (as I do) bringing something into
the world and making it part of people’s lives there follows concerns for why
that would be automatically assumed to be positive. Crack cocaine is one of the
most successful innovations in American history. It is found everywhere at
every level of society. Even though it can be declared a successful innovation
it is not necessarily a 'good' innovation.<o:p></o:p></div>
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<br /></div>
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Discerning the assumptions behind the term innovation as it
is popularly used is a challenge. Innovation is not the same thing as
creativity. If democracy (a very old idea) becomes a real part of the
governance of a people who have only been under some form of dictatorial rule
(tribal, political, religious etc.) it can be considered an innovation in their
lives but certainly not a novel, new or creative form of governance in human
affairs.<o:p></o:p></div>
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<br /></div>
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Implementation and innovation are often interchanged as
terms. Implementation is an executive function. It is the activity of making
something happen or putting something into effect. Implementation occurs on
behalf of someone—while innovation is usually treated as a sales function. It
is an activity that attempts to influence people to buy, consume, behave,
adapt, etc. <o:p></o:p></div>
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<br /></div>
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The distinction between implementation and innovation is not
a judgmental call. Innovation often leads to happy outcomes as in the case of
Apple. Paraphrasing Steve Jobs—consumers don’t know what they want until they
are shown it. Of course changing people’s behavior through innovation (the new
fad among some designers) rather than serving them through implementation
raises a number of concerns.<o:p></o:p></div>
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<br /></div>
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The reasons for innovation can be very different depending
on the intention and purposes of the innovators (the same is true for implementation and implementers). It can lead to <i style="mso-bidi-font-style: normal;">reformation</i> (change of means) or <i style="mso-bidi-font-style: normal;">transformation</i> (change of ends) in a social system as pointed out
by <a href="http://www.youtube.com/watch?v=ZLU3aoQ7t7c&feature=player_embedded">Russell Ackoff</a>. Innovation and implementation are subset activities of designing. Designing is also the strategy used in <i style="mso-bidi-font-style: normal;">formation</i>—the implementation of a
desired new form of reality.<o:p></o:p></div>
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<br /></div>
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Innovation is an example of a vital and viable idea that
needs to be more clearly developed and understood through an ongoing dialogue
rather than being cut off in its prime by assassination attempts or
abandonment. <o:p></o:p></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8494274204915010252.post-85763779116771496882011-10-06T11:20:00.000-07:002011-10-06T11:20:17.981-07:00Steve Jobs 1955 - 2011It is with great sadness that we note the passing of one of the greatest designers to have lived and worked in recent memory. He changed our material world for the better and set standards for quality and innovation that will not soon be matched if ever. He is greatly missed. Our condolences to his family and friends. RIP Steve.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8494274204915010252.post-49271474989375412982011-09-08T16:07:00.000-07:002011-09-15T12:49:29.353-07:00Everything Real is Not True<div class="MsoNormal" style="line-height: 18pt; margin-right: -0.5in; text-align: left;"><br />
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<div class="MsoNormal" style="margin-right: 1.0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span style="font-family: Times; font-size: 16.0pt; mso-bidi-font-family: Times;">Decision makers want to be able to make good decisions. Decisions that will at the very least make the company money, the nonprofit effective, or the governmental agency politically popular. They want to make decisions that lead to better products, services, or organizational behavior. They also want to be seen as effective leaders worth the money, prestige and trust they desire or have invested in them. The problem is that good, let alone great, decisions seem harder and harder to come by.<o:p></o:p></span></div><div class="MsoNormal" style="margin-right: 1.0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><br />
</div><div class="MsoNormal" style="margin-right: 1.0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span style="font-family: Times; font-size: 16.0pt; mso-bidi-font-family: Times;">Confidence in leaders or even the concept of leadership is very low at the moment—so low that a lot of public discussion deals with how to get along without the present crop of leaders. Professional literature deals with the availability of new prescriptive recipes which, when followed correctly, guarantee to bring certainty and success to decision making with or without good leadership. The market overflows with workshops and training sessions that promise to provide the right sequence of experiences that lead to painless, accessible, and cost effective problem solving abilities, which in turn promise to consistently provide solutions to complex problems embedded in confusing circumstances or better yet provide ready-made answers.<o:p></o:p></span></div><div class="MsoNormal" style="margin-right: 1.0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><br />
</div><div class="MsoNormal" style="margin-right: 1.0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span style="font-family: Times; font-size: 16.0pt; mso-bidi-font-family: Times;">The desire for consistency and certainty has been part of the human condition for as long as we know. The earliest cosmologies and associated rites and rituals were all meant to give structure to chaos and mystery but there always seemed to be less predictability than desired and more unpredictability than tolerable. Ancient decision makers would go through great effort and cost to ask the Oracle at Delphi for a simple answer to their straight forward question only to be given responses that, by necessity, required deeper thinking on the questioner's side. The early Christians found that their leader spoke only in parables leaving centuries of interpretation of what the true answers were.<o:p></o:p></span></div><div class="MsoNormal" style="margin-right: 1.0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><br />
</div><div class="MsoNormal" style="margin-right: 1.0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span style="font-family: Times; font-size: 16.0pt; mso-bidi-font-family: Times;">Despite the apparent popularity of these and other traditional means for accessing of wisdom, decision makers have continued to look for other less opaque methods of inquiry that would provide information that was more accessible, straight to the point, transparent, accurate, consistent and stable over time. In the Western tradition the right approach to coming up with accurate answers to questions seeking the basis for good decision making was soon identified as the outcome of rational thought using the protocols of the scientific method. This approach worked so well for gaining a better understanding of the natural world and for the creation of sophisticated technology that it was only natural that managers, administrators and others in leadership roles would come to depend on the same design of inquiry for decisions that the scientists used.<o:p></o:p></span></div><div class="MsoNormal" style="margin-right: 1.0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><br />
</div><div class="MsoNormal" style="margin-right: 1.0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span style="font-family: Times; font-size: 16.0pt; mso-bidi-font-family: Times;">However this scientized approach, with some exceptions, has not provided the kind of guarantee of good outcomes expected. This comes from what I believe is a confusion between what is <i>true</i> and what is <i>real</i>. Science can only determine that which is true but managers and others must deal with what is real as well. I make the distinction between what is true and what is real in the following way. A painting by Cezanne is real, the atomic weight of copper is true. An experience is real, a scientific observation is true. An organization is real, a proven fact is true. An individual's perspective is real, a predictable event is true.<o:p></o:p></span></div><div class="MsoNormal" style="margin-right: 1.0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><br />
</div><div class="MsoNormal" style="margin-right: 1.0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span style="font-family: Times; font-size: 16.0pt; mso-bidi-font-family: Times;">Determining what is true comes from accurate descriptions and explanations through controlled observation (William James' "tough-minded" empiricism). The true also comes from careful abstract reasoning and logic (William James' "tender-minded" rationalism). The real on the other hand is primarily revealed through actions taken by intention as formed by judgment. The real is complex, too complex to grasp in any comprehensive way. The real is unique and particular at any time and place. The real cannot be generalized and universalized unless abstracted into categories and patterns of qualities.<o:p></o:p></span></div><div class="MsoNormal" style="margin-right: 1.0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><br />
</div><div class="MsoNormal" style="margin-right: 1.0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span style="font-family: Times; font-size: 16.0pt; mso-bidi-font-family: Times;">Good decisions and right actions do not and cannot arise from what is true alone. They must be grounded in the particularity of the real. Not recognizing this leads decision makers into analysis paralysis where focus on what’s true leads to unending branching. Decisions and actions must be based on what is real in addition to what is true. This is a symmetry however, not a polarity. That is, it is a unity rather than a compromise or conflict between the two. The binary relationship as shown below needs to be preserved in the process of good decision-making to assure that neither is negated or made dominate in relation to the other. It must also be recognized that both the true and the real are only the basis for decision making and not the means.<o:p></o:p></span></div><div class="MsoNormal" style="margin-right: 1.0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><br />
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</span></b></div><div class="MsoNormal" style="margin-right: 1.0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><b><span style="font-family: Times; font-size: 16.0pt; mso-bidi-font-family: Times;"><br />
</span></b></div><div class="MsoNormal" style="margin-right: 1.0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><br />
</div><div class="MsoNormal" style="margin-right: 1.0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span style="font-family: Times; font-size: 16.0pt; mso-bidi-font-family: Times;">The pressure on educators of decision-makers and the educated decision-makers themselves to locate their work in the scientific tradition has led to the deformation of what is real into the pretense of that which is true—not bothering to stop at even the level of compromise. Formal educational curriculum, professional development programs and training methods supporting decision-making and leadership roles have been well developed in the realm of that which is true but not enough has been done in the development of similar areas of support in the realm of that which is real. There is a clear difference between what business, civil and governmental organizations need from educational programs and what academic programs provide for instance. An example of the contrasting divergent needs of education and business is represented by Foreman1 as a relationship between academic orientation and business requirements (neither being systemic which is another issue in itself). This is an instance of the split between what is ‘simply’ true and what is ‘really’ true:<o:p></o:p></span></div><div class="MsoNormal" style="margin-right: 1.0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><br />
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</span></div><div class="MsoNormal" style="margin-right: 1.0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span style="font-family: Times; font-size: 16.0pt; mso-bidi-font-family: Times;"><br />
</span></div><div class="MsoNormal" style="margin-right: 1.0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span style="font-family: Times; font-size: 16.0pt; mso-bidi-font-family: Times;"><br />
</span></div><div class="MsoNormal" style="margin-right: 1.0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span style="font-family: Times; font-size: 16.0pt; mso-bidi-font-family: Times;">In an article in the Harvard Business Review2 the professional intellect of an organization is said to operate on four levels of increasing importance: 1) cognitive knowledge, 2) advanced skills, 3)systems understanding, 4) self-motivated creativity. Only the first deals with what is ‘simply’ true. The others are in the realm of that which is ‘really’ true—i.e. both real and true.<o:p></o:p></span></div><div class="MsoNormal" style="margin-right: 1.0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><br />
</div><div class="MsoNormal" style="margin-right: 1.0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span style="font-family: Times; font-size: 16.0pt; mso-bidi-font-family: Times;">Decision-making and leadership need to be grounded in the tradition of science and logic but not to the exclusion of judgment and reality. Design is an emerging field of inquiry for action that blends the distinction between what is true and what is real into a balanced systemic relationship.<o:p></o:p></span></div><div class="MsoNormal" style="margin-right: 1.0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><br />
</div><div class="MsoNormal" style="margin-right: 1.0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span style="font-family: Times; font-size: 13.0pt; mso-bidi-font-family: Times;">1. Foreman, David C. 1995. "The Use of Multimedia Technology</span><span style="font-family: Times; font-size: 16.0pt; mso-bidi-font-family: Times;"><o:p></o:p></span></div><div class="MsoNormal" style="margin-right: 1.0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span style="font-family: Times; font-size: 13.0pt; mso-bidi-font-family: Times;"> for Training in Business and Industry." Multimedia Monitor 13(7): 22-27</span><span style="font-family: Times; font-size: 16.0pt; mso-bidi-font-family: Times;"><o:p></o:p></span></div><div class="MsoNormal" style="margin-right: 1.0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span style="font-family: Times; font-size: 13.0pt; mso-bidi-font-family: Times;">2. Quinn, James Brain, Philip Anderson, and Sydney Finkelstein. 1996 "Managing</span><span style="font-family: Times; font-size: 16.0pt; mso-bidi-font-family: Times;"><o:p></o:p></span></div><div class="MsoNormal" style="margin-right: 1.0in;"><span style="font-family: Times; font-size: 13.0pt; mso-bidi-font-family: Times;"> Professional Intellect" Harvard Business Review, March-April; 71-80</span></div><!--EndFragment--></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8494274204915010252.post-92172788971750763582011-09-05T16:03:00.000-07:002011-09-05T16:03:48.647-07:00What's the Trick?<div class="separator" style="clear: both; text-align: left;">The recent spate of articles on Steve Job’s resignation at Apple (too often sounding disturbingly like obituaries) have focused on the mystery of Job’s approach to his work. They are representative of the ongoing quest to find the recipe or secret sauce that made Apple’s products so dominant in the market place. The focus on design is always mentioned as Apples core competence. Job’s character is often critiqued but mostly the center of attention is on trying to discern his—i.e. Apple’s—design methods and materials. ‘Design thinking’ has become the normative category to use when referring to these or anyone’s methods or approaches to designing.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">‘Design thinking’ in fact has become the highly recommended approach for businesses and governments to take. ‘Design thinking’ is being touted in text and video as the next best thing for solving complex dynamic problems faced by business and governmental agencies in today’s admittedly complex and rapidly changing world. However ‘design thinking’ is not the same thing as design inquiry, or design action—i.e. <i style="mso-bidi-font-style: normal;">design</i>—and the confusion has serious consequences. ‘Design thinking’ is being sold as a commodity, a branded recipe or set of steps that is supposed to guarantee successful outcomes by revealing the right answers in response to whatever problem descriptions are fed into clever algorithms. Design is not primarily about solving problems however. It is about something different.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">When taking a problem focused approach to design, leaders, decision makers and stakeholders can constantly skirt taking responsibility and accountability for their decisions and actions by focusing on methods—by avoiding the <i style="mso-bidi-font-style: normal;">courageous</i> and grasping for the <i style="mso-bidi-font-style: normal;">certain</i>. Rollo May’s classic <i style="mso-bidi-font-style: normal;">The Courage to Create</i> and Joseph Campbell’s <i style="mso-bidi-font-style: normal;">Hero of a Thousand Faces </i>are examples of an alternative perspective of what it means to be courageous and willing to take risks and why. Courage is not the same as the aggressiveness acted out in office politics and political governance. A focus on courage provides an alternative perspective of the heroic individual. It is dramatically different from the kind of ‘in charge’ hero of popular culture that is the anathema of those touting the importance of the group over the individual and in the process diminishing both. Both May and Campbell provide a view of the systemic interdependency of courageous individuals and their essential connection to the well being of collective lives.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Few business or governmental leaders are representative of the second type of heroic figure and it seems their constituency like it that way. Most everyone colludes in demanding a risk free environment, no worry decisions, and no accountabilities or responsibilities. People in charge are happy to collect their rewards for following prescribed steps, accepted routines and approved procedures—arriving at the right answers, just like we were all taught to do in school. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">As Russ Ackoff points out <<a href="http://www.acasa.upenn.edu/p19.pdf">http://www.acasa.upenn.edu/p19.pdf</a>>, panaceas are ever in demand in business, governmental agencies and other social organizations. One look at a typical Harvard Business Review’s table of contents reveals that the dominant focus is on numbering—numbered steps, numbered categories, numbered everything. We all like the safe feeling of limits set by solid numbers. A methodological certainty that saves us from having to take responsibility for our making sense of the chaos we face daily and making difficult judgments about what actions we ought to take in any situation—all without having guarantors in place to protect us from failures and unintended consequences.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Design is about courage and not about guaranteed outcomes. It is about competency, skill, ability, and character, brought into the service of others—clients, stakeholders, society and the greater good. It is a ‘conspiracy’—a breathing together—of people who understand the true nature of the challenge and the necessity of taking it head on without a bag full of ‘tricks’. There are plenty of people with bags of ‘tricks for treats’ that feed the need in organizations and institutions for easy, accessible and certain approaches to overwhelmingly complex challenges. One of my favorite political cartoons by Danziger published in the Christian Science Monitor several years ago, caught the spirit of our political and business leaders’ habit of always looking for ‘the trick’ rather than looking to themselves for the courage and competence to become designers of the real world.</div><div class="MsoNormal"><br />
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</div>Unknownnoreply@blogger.com0