Design process considerations FFD301) By Raul PINTOhomes.ieu.edu.tr/ffd301/INSTRUCTOR PRESENTATIONS/FFD301_Pre… · DESIGN THINKING Based on Stanford’s School of Design (bootcamp

Design process considerations FFD301)By Raul PINTO

DESIGN PROCESS

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DESIGN THINKINGBased on Stanford’s School of Design (bootcamp bootleg)

Show Don’t Tell“Communicate your ideas in a striking and meaningful way, creating experiences, using illustrative visuals, and telling good stories.”

Drawing is the essence and main tool to design

Focus on Human Values“Empathy for the people you are designing for and feedback from these users is fundamental to good design.”

Craft Clarity“Produce a coherent vision out of messy problems. Frame it in a way to inspire others and to fuel ideation.”

Embrace Experimentation“Prototyping is not simply a way to validate your idea; it is an integral part of your innova-tion process. We build to think and learn.”

Be Mindful Of Process“Know where you are in the design process, what methods to use in that stage, and what your goals are.”

Bias Toward Action“Design thinking is a misnomer; it is more about doing than thinking. Bias toward doing and making over thinking and meeting.”

EXAMINE

Generate empathy so you can create the foundation of a human-centered design process.

To empathize, we:Observe. View users and their behavior in the context of their lives.---Engage. Interact with and interview users through both scheduled and short ‘intercept’ encounters.---Immerse. Experience what your user experiences.

UNDERSTAND Defining things helps us understand

“Unpack and synthesize your empathy findings into compelling needs and insights, and scope a specific and meaningful challenge. It is a mode of “focus” rather than “flaring.” Two goals of the define mode are to develop a deep understanding of your users and the design space and, based on that understanding, to come up with an actionable problem statement: your point of view. Your point of view should be a guiding statement that focuses on specific users, and insights and needs that you uncovered during the examine mode.More than simply defining the problem to work on, your point of view is your unique design vision that you crafted based on your discoveries during your empathy work. Un-derstanding the meaningful challenge to address and the insights that you can leverage in your design work is fundamental to creating a successful solution.”

IDEATE

“Ideate is the mode during your design process in which you focus on idea generation. Mentally it represents a process of “going wide” in terms of concepts and outcomes—it is a mode of “flaring” rather than “focus.” The goal of ideation is to explore a wide solu-tion space – both a large quantity of ideas and diversity among those ideas. From this vast depository of ideas you can build prototypes to test with users.”

EXPERIMENTMockup as much as you can

“Prototyping is getting ideas and explorations out of your head and into the physical world. A prototype can be anything that takes a tangible form – be it a wall of post-it notes, a role-playing activity, a space, an object, an interface, or even a storyboard. The resolution of your prototype should be commensurate with your progress in your project. In early explorations keep your prototypes rough and rapid to allow yourself to learn qui-ckly and investigate a lot of different possibilities.Prototypes are most successful when people (the design team, the user, and others) can experience and interact with them. What you learn from those interactions can help drive deeper empathy, as well as shape successful solutions.”

DISTILL Testing is the chance to refine our solutions and make them better. The test mode is another iterative mode in which we place our low-resolution artifacts in the appropriate context of the user’s life. Prototype as if you know you’re right, but test as if you know you’re wrong.

MEANING AND NARRATIVE IN FURNITURE DESIGN

Can Products speak? Do products tell a story?

Laszlo Moholy Nagy

“… our utility items are neither cult objects nor center of meditation. They only have to fulfill their function and range in the surroundings in a usefulmanner."---“Artifacts should not evoke attention or affection. They were meant to be functional,objective, restraining, timeless and culturally neutral and should remain in thebackground”

We have no doubt that the objects themselves do not speak, however, they provide surfaces where we can project meaning and they allow interpretation by the user. There is no one way for a car; each form contains symbols that are rich in meanings.

How to create products with meaning:

Find solutions with a tangible impact---Leveraging design strategy throughout the whole dimension of the product---Identify the criteria for a "good" solution

THE AESTHETICS OF THE EXPERIENCE

The experience is a subjective construction that evolves over time---A description / contextualization is necessary in order to understand the artifact--- The creation of an argument that creates affinities with artefacts is necessary--- When I interact with the artifact, I'm part of the argument, I’m an active element

ELEMENTS THAT SHOULD BE INCLUDED IN THE PDS:

Performance - Energy, use, frequency of use, etc. Competition - What similar products may be competitors? Environment - temperature, pressure, noise, storage, use. Use and product life - What is the lifecycle of the product? Continuous use? Intermittent?Maintenance and repair - type and frequency, accessibility, special tools or materials. Product costs - Design, production, distribution, marketing and sales, disposal at end--of-life. Transportation - Specific Times/validity, conventional means Packaging - Fragile, packaging/special handling, protection during transportation. Quantity - One of each type or 20 millionProduction facility - New factory, special equipment, training of personnel, subcon-tracting

Size - Small, convenient for handling during transport and use Weight – is it easily to maneuver by users? In production? In shippingAesthetics - Textures, finish, etc.Materials - Available, durable, cost, specifications, etc. Length of the production cycle - two years or two decades Standards and specifications - Legislation, standards, certifications Ergonomics - Man-machine interface, height, reach, vision, etc. Client - Familiar with this type of product and instruction manuals Quality / Reliability - Performance tests. Shelf life - time storage without degradation, conditions of storage Processes - techniques, materials or special equipment Timescales - Three months or three years to bring the product to market Safety - Warning Labels Constraints of the company - Competing products, funding, facilities, personnel

Market constraints - geographical and cultural contexts require different characteristicsPatents – do you need to patent the product Political and social implications - Will it cause unemployment or opposition of a reli-gious group, etc. Installation - Delivered and installed / Technical assistanceDocumentation / Training - Ease of use of the product Elimination at the end of the life cycle - Recycling? Toxic components? current stan-dards





















PDS _ PRODUCT DESIGN SPECIFICATION

The PDS is the basis for many design decisions and can serve as a contract that must be fulfilled---The PDS is a dynamic instrument that is being built and altered---The PDS should be developed taking into account all aspects of the product and its interactions in a systematic and thorough manner---In the early stages of the project its essential to considerer all aspects of the product, even superficially. The specificity of the details can be enhanced as the project develops.

















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Design process considerations FFD301) By Raul PINTOhomes.ieu.edu.tr/ffd301/INSTRUCTOR PRESENTATIONS/FFD301_Pre… · DESIGN THINKING Based on Stanford’s School of Design (bootcamp