Universal Methods of Design, Expanded and Revised: 125 Ways to Research Complex Problems, Develop Innovative Ideas, and Design Effective Solutions (Rockport Universal)

Descripción

From the Publisher Universal Methods of Design Expanded and Revised In keeping with the work that we do, we have a simple, human-centered design intention in the presentation of this book. Methods and approaches are organized alphabetically for ongoing, quick reference. On each page spread, accessible, concise text descriptions of each method appear on the left page, accompanied by references for further reading that pay respect to the seminal works of those who have laid the foundations for us. An infographic on the bottom left of each page characterizes the methods and techniques using several useful research facets. The behavioral/attitudinal facet suggests the type of content most appropriately targeted by the method. Quantitative/qualitative characterizes the form in which that content is typically collected and communicated. Innovative/adapted/traditional describes whether the method is original to design, adapted from other disciplines, or used traditionally across disciplines. Exploratory/generative/evaluative frames the methods by their primary purpose of early exploration, concept generation, or testing and evaluation. And finally, participatory/observational/self reporting/expert review/design process describes the typical roles of the researcher and participant, with design process characterizing an overall approach to design. The relevant phases for design application are highlighted as numbered icons along the right side of the page Phase 1 is Planning, Scoping, and Definition Phase 2, Exploration, Synthesis, and Design Implications Phase 3 is Concept Generation and Early Prototype Iteration Phase 4 is Evaluation, Refinement, and Production Phase 5 is Launch and Monitor SYNTHESIS / ANALYSIS TECHNIQUE -- Critiques A central mechanism to advance the design process, inviting constructive feedback on concepts from teachers, clients, stakeholders, or peers. The critique or “crit” is a crucial element of the design process in both education and practice. Students and design practitioners, alike, benefit from timely and constructive input, advancing their creative work through the reactions and comments of others. The open critique of shared work is a unique feature of design and related creative fields (e.g., architecture2), in contrast to many professions where solutions are worked on and delivered in less public forums. There are various forms and purposes of critique, but in essence they are intended to improve the design, while also improving the presentation of the design, learning how others would understand the design, and learning to critique design. In the Critical Response Process, Liz Lerman outlines a series of steps with specified roles of the artist or designer, responders, and a facilitator.4 When the work is presented, steps are as follows Statements of Meaning Responders indicate what they found meaningful, interesting, or remarkable about the work. Designer Questions The designer asks questions of the responders. Responders may provide opinions only in direct response to questions and without suggestions for change. Neutral Questions Responders ask neutral questions of the designer; for example, rather than “Why did you choose red?” they would ask, “What informed your choice of colors?” Permissioned Opinions Responders state, “I have an opinion about _______. Would you like to hear it?” The designer has the option of saying yes or no. In an unusual and rare form, ritual dissent attempts to depersonalize the critique of work. A resilient spokesperson is nominated to present a design idea to a silent panel of critics. Then, with the spokesperson’s back turned to the panel, they vigorously attack the design idea (dissent) or provide better alternatives (assent). Returning to face the panel, the spokesperson then describes what they learned. In some instances, ritual dissent is conducted in multiple rounds, with the spokespersons rotating between tables of critics. Aside from structured methods for critique, a general set of rules or guidelines to maintain a positive, constructive atmosphere is key. For example, a critique is more likely to be productive by staying focused on the work, not the person; by asking questions in a respectful manner; by thanking people for their feedback; and by mentally placing comments in “buckets” of accept, reject, or reflect. Various forms of critique include the desk critique or expert review, typically one-on-one between an instructor and student or supervisor and designer Review: Helped with brainstorming design methods - I used this for my design class in college. Provided perfect methods for design. Review: Excellent toolkit for creative problem solving. - As a working design consultant I have had to develop many methods for problem solving, consensus building, and brand definition on my own. Imagine my delight at finding a tool set that is more expansive, clearly articulated and contains good examples. I have a few minor peeves- the text type is too thin and too gray for a technical publication, and the authors occasionally lapse into consultant-speak rather than English that clarifies meaning. Still, the content and organization are worthy of 5 stars. Every creative professional should be using this excellent toolkit.