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Just Enough Design: Reflections on the Japanese Philosophy of Hodo-hodo
September 7, 2024
Last year, I discovered Taku Satoh's Just Enough Design: Reflections on the Japanese Philosophy of Hodo-hodo (published by Chronicle Books) at Boston's Institute of Contemporary Art (ICA) souvenir shop. During my metro rides between Cambridge and Boston, I enjoyed flipping through this portable-sized book, filled with insightful design perspectives and beautiful visuals.
Satoh shares his design philosophy through his practice, work, and life experiences in the book. The term “hodo-hodo,” which he interprets as “just enough,” is a brilliant concept rooted in ancient Japan (P15). This “just enough” philosophy has shaped his views on design, design education, and the design process. He notes that design has always been essential to maintaining authenticity (P35). Satoh metaphorically compares design to water—an indispensable element of life that connects us to our environments in visible and invisible ways (P66).
Satoh’s reflections on the “design relationship” are incredibly thought-provoking, particularly if we view everything as a designed or curated experience (P63). He emphasizes that a good design solution arises from creating smart, meaningful connections (P10).
One of his most illustrative examples is the design or the invention of chopsticks, where the principle of hodo-hodo allows the user to explore new purposes and possibilities for the object (P71). The simplicity of chopsticks, consisting of just two sticks, allows for a wide range of uses: separating pieces of fish, piercing dumplings, stirring corn soup, carrying slippery meatballs, wrapping nori around rice, and so much more.
This example highlights his belief that design holds no inherent value; its worth is only realized through the relationships individuals develop with an object (P16).
Last year, I discovered Taku Satoh's Just Enough Design: Reflections on the Japanese Philosophy of Hodo-hodo (published by Chronicle Books) at Boston's Institute of Contemporary Art (ICA) souvenir shop. During my metro rides between Cambridge and Boston, I enjoyed flipping through this portable-sized book, filled with insightful design perspectives and beautiful visuals.
Satoh shares his design philosophy through his practice, work, and life experiences in the book. The term “hodo-hodo,” which he interprets as “just enough,” is a brilliant concept rooted in ancient Japan (P15). This “just enough” philosophy has shaped his views on design, design education, and the design process. He notes that design has always been essential to maintaining authenticity (P35). Satoh metaphorically compares design to water—an indispensable element of life that connects us to our environments in visible and invisible ways (P66).
Satoh’s reflections on the “design relationship” are incredibly thought-provoking, particularly if we view everything as a designed or curated experience (P63). He emphasizes that a good design solution arises from creating smart, meaningful connections (P10).
One of his most illustrative examples is the design or the invention of chopsticks, where the principle of hodo-hodo allows the user to explore new purposes and possibilities for the object (P71). The simplicity of chopsticks, consisting of just two sticks, allows for a wide range of uses: separating pieces of fish, piercing dumplings, stirring corn soup, carrying slippery meatballs, wrapping nori around rice, and so much more.
This example highlights his belief that design holds no inherent value; its worth is only realized through the relationships individuals develop with an object (P16).
Designing Business and Management
September 4, 2024
While we discuss design innovation, we also consider innovative design (P181).
I purchased Designing Business and Management, edited by Sabine Juninger and Jürgen Faust (published by Bloomsbury), at a second-hand bookstore during a job talk at Yale School of Management (SOM) last year. After letting it sit on my shelf for a while, I finished reading it before starting the fall semester at MIT. Despite being published in 2016, the book's ideas remain relevant to today’s design education, business landscape, and the complex intersections of the socio-economic and technological challenges we face.
Burke (2013) noted, “Design thinking to design is what the scientific method is to science (P95).” Design thinking isn’t a new concept, but its overuse or misuse sometimes clouds its true value. I believe that effective design or design process blends both design thinking and design doing.
To emphasize design thinking and design making, the book covered the need for “thinking-in-action” (P176) to drive real-world applications. This aligns with Buchanam’s chapter (P17), “Design on New Ground: The Turn to Action, Service, and Management,” Szasz’s chapter (P105), “Design Thinking as an Indication of a Paradigm Shift,” and Kolo and Merdes’s chapter (P117) “Design Thinking in Teaching Innovation.”
I particularly enjoyed Szasz’s exploration of the symbiotic relationship between design, art, and craft. He traced the historical split between these fields during the Industrial Revolution, showing how traditional design influences contemporary practices. He highlighted how design education has evolved from traditional methods into producing “designerly” educated “design thinkers,” now working alongside non-designers in interdisciplinary design thinking teams (P114).
Design serves as an interface between disciplines, and transdisciplinary approaches help break down boundaries and enable innovation (P149). This echoes Brown’s (2008) view that design thinking is “a discipline that uses the designer’s sensibility and methods to match people’s needs with what is technologically feasible and what a viable business strategy can turn into customer value and market opportunity (P121).”
While we discuss design innovation, we also consider innovative design (P181).
I purchased Designing Business and Management, edited by Sabine Juninger and Jürgen Faust (published by Bloomsbury), at a second-hand bookstore during a job talk at Yale School of Management (SOM) last year. After letting it sit on my shelf for a while, I finished reading it before starting the fall semester at MIT. Despite being published in 2016, the book's ideas remain relevant to today’s design education, business landscape, and the complex intersections of the socio-economic and technological challenges we face.
Burke (2013) noted, “Design thinking to design is what the scientific method is to science (P95).” Design thinking isn’t a new concept, but its overuse or misuse sometimes clouds its true value. I believe that effective design or design process blends both design thinking and design doing.
To emphasize design thinking and design making, the book covered the need for “thinking-in-action” (P176) to drive real-world applications. This aligns with Buchanam’s chapter (P17), “Design on New Ground: The Turn to Action, Service, and Management,” Szasz’s chapter (P105), “Design Thinking as an Indication of a Paradigm Shift,” and Kolo and Merdes’s chapter (P117) “Design Thinking in Teaching Innovation.”
I particularly enjoyed Szasz’s exploration of the symbiotic relationship between design, art, and craft. He traced the historical split between these fields during the Industrial Revolution, showing how traditional design influences contemporary practices. He highlighted how design education has evolved from traditional methods into producing “designerly” educated “design thinkers,” now working alongside non-designers in interdisciplinary design thinking teams (P114).
Design serves as an interface between disciplines, and transdisciplinary approaches help break down boundaries and enable innovation (P149). This echoes Brown’s (2008) view that design thinking is “a discipline that uses the designer’s sensibility and methods to match people’s needs with what is technologically feasible and what a viable business strategy can turn into customer value and market opportunity (P121).”
Design: A Very Short Introduction
August 27, 2024
Design is to design a design to produce a design.
.
I discovered John Heskett’s book “Design: A Very Short Introduction (published by Oxford)” through Professor Tim Parsons’s video “What Is Object Design?” After coding 69 video transcripts, which was tedious, laborious, and time-consuming, I was inspired to delve into this compact yet impactful book.
The sentence, “Design is to design a design to produce a design” (P3), immediately caught my attention. Heskett breaks down design into four distinct "tenses": design as a verb in a socio-economic context, design as a verb representing an action, design as a noun referring to an object or a solution, and design as a noun representing a service experience encompassing the object or product. This aligns with Heskett’s assertion that “the role of design substantially contributes to such developments by creating change in values across national or ethnic boundaries” (P34).
As an industrial designer by training, I enjoyed Chapter 4, Objects (P37). Heskett emphasizes the importance of considering objects' role in people’s lives (P35). He expands the definition of “objects” to include the wide array of three-dimensional artifacts we encounter daily—in our homes, public spaces, workplaces, schools, entertainment venues, and transportation systems (P37). According to Heskett, these objects are expressions of how we could or should live, manifested in physical form (P37). Moreover, Heskett suggests that forms can carry metaphysical significance, transcending their tangible aspects to become symbols of belief and faith, embodying the deepest human aspirations (P35). His perspective on the human capacity to create meaningful forms resonates deeply with me, highlighting the vast possibilities of design.
Consider this: People invest in objects with personal meaning. When we view objects in a broader context—within the environment—we recognize the potential for these meanings to evolve, allowing us to actively shape our surroundings into more preferred states (P69). Heskett’s view extends beyond the idea of objects as mere design solutions. He proposes that objects can embody ideas about how life might be lived, engaging in an ongoing process of innovation and refinement that transcends the limitations of resources like time and space (P12).
Design is to design a design to produce a design.
.
I discovered John Heskett’s book “Design: A Very Short Introduction (published by Oxford)” through Professor Tim Parsons’s video “What Is Object Design?” After coding 69 video transcripts, which was tedious, laborious, and time-consuming, I was inspired to delve into this compact yet impactful book.
The sentence, “Design is to design a design to produce a design” (P3), immediately caught my attention. Heskett breaks down design into four distinct "tenses": design as a verb in a socio-economic context, design as a verb representing an action, design as a noun referring to an object or a solution, and design as a noun representing a service experience encompassing the object or product. This aligns with Heskett’s assertion that “the role of design substantially contributes to such developments by creating change in values across national or ethnic boundaries” (P34).
As an industrial designer by training, I enjoyed Chapter 4, Objects (P37). Heskett emphasizes the importance of considering objects' role in people’s lives (P35). He expands the definition of “objects” to include the wide array of three-dimensional artifacts we encounter daily—in our homes, public spaces, workplaces, schools, entertainment venues, and transportation systems (P37). According to Heskett, these objects are expressions of how we could or should live, manifested in physical form (P37). Moreover, Heskett suggests that forms can carry metaphysical significance, transcending their tangible aspects to become symbols of belief and faith, embodying the deepest human aspirations (P35). His perspective on the human capacity to create meaningful forms resonates deeply with me, highlighting the vast possibilities of design.
Consider this: People invest in objects with personal meaning. When we view objects in a broader context—within the environment—we recognize the potential for these meanings to evolve, allowing us to actively shape our surroundings into more preferred states (P69). Heskett’s view extends beyond the idea of objects as mere design solutions. He proposes that objects can embody ideas about how life might be lived, engaging in an ongoing process of innovation and refinement that transcends the limitations of resources like time and space (P12).
Design Leadership Ignited: Elevating Design at Scale
August 17, 2024
How Do We Engage in Design Leadership at Scale?
At the DMI (Design Management Institute) conference at TU Delft, I was thrilled to meet Eric Quint and Prof. Giulia Calabretta in person. Along with Prof. Gerda Gemser, they co-authored the insightful book Design Leadership Ignited: Elevating Design at Scale, published by Stanford Press. I’m grateful for their generosity in giving me a signed hard copy, which I thoroughly enjoyed reading on my flight from Amsterdam to Cambridge. It reminded me of the good old times working at IDEO and Continuum.
The authors address the challenge of engaging in design leadership at scale through three key phases: establishing the design foundation, empowering the design team, and elevating design excellence (P14). Their approach, viewed through the lens of “duality,” resonates with me, particularly as it highlights the complexity and ambiguity inherent in discussing the role of design.
The book explores critical dualities in design: design as tactic versus design as strategy (P9), and intrinsic versus extrinsic motivation for design teams and individuals (P154). The authors skillfully navigate these multi-dimensional considerations: cost management versus value creation, stylistic design versus systematic design, project-by-project versus portfolio approach, expertise-based versus research-based, short-term versus long-term, outsourcing versus insourcing, and fragmented market presence versus holistic value proposition.
The complexity of design leadership within organizational contexts lies in knowing when to deliver a hug and when to deliver a rebuke (P153). The authors emphasize that design leadership extends beyond internal design conversations (P74). A crucial aspect of creating strategic design demand is fostering stakeholders who become design ambassadors, committed to investing in design structurally. This transformation—from raising awareness to gaining appreciation and ultimately becoming ambassadors—can lead to actual qualitative and quantitative scaling (P173).
Supported by rigorous qualitative research methods (P197), Design Leadership Ignited is more than just a leadership book; it’s a profound research work that illustrates the synergy between academia and industry. The interviewees' quotes throughout the book reinforce the theoretical concepts and thought experiments and, most importantly, add a personal, human touch.
How Do We Engage in Design Leadership at Scale?
At the DMI (Design Management Institute) conference at TU Delft, I was thrilled to meet Eric Quint and Prof. Giulia Calabretta in person. Along with Prof. Gerda Gemser, they co-authored the insightful book Design Leadership Ignited: Elevating Design at Scale, published by Stanford Press. I’m grateful for their generosity in giving me a signed hard copy, which I thoroughly enjoyed reading on my flight from Amsterdam to Cambridge. It reminded me of the good old times working at IDEO and Continuum.
The authors address the challenge of engaging in design leadership at scale through three key phases: establishing the design foundation, empowering the design team, and elevating design excellence (P14). Their approach, viewed through the lens of “duality,” resonates with me, particularly as it highlights the complexity and ambiguity inherent in discussing the role of design.
The book explores critical dualities in design: design as tactic versus design as strategy (P9), and intrinsic versus extrinsic motivation for design teams and individuals (P154). The authors skillfully navigate these multi-dimensional considerations: cost management versus value creation, stylistic design versus systematic design, project-by-project versus portfolio approach, expertise-based versus research-based, short-term versus long-term, outsourcing versus insourcing, and fragmented market presence versus holistic value proposition.
The complexity of design leadership within organizational contexts lies in knowing when to deliver a hug and when to deliver a rebuke (P153). The authors emphasize that design leadership extends beyond internal design conversations (P74). A crucial aspect of creating strategic design demand is fostering stakeholders who become design ambassadors, committed to investing in design structurally. This transformation—from raising awareness to gaining appreciation and ultimately becoming ambassadors—can lead to actual qualitative and quantitative scaling (P173).
Supported by rigorous qualitative research methods (P197), Design Leadership Ignited is more than just a leadership book; it’s a profound research work that illustrates the synergy between academia and industry. The interviewees' quotes throughout the book reinforce the theoretical concepts and thought experiments and, most importantly, add a personal, human touch.
Transform with Design: Creating New Innovation Capabilities with Design Thinking
August 11, 2024
The book "Transform with Design: Creating New Innovation Capabilities with Design Thinking," edited by Jochen Schweitzer, Sihem BenMahmoud-Jouini, and Sebastian Fixson (published by Rotman-UTP Publishing), caught my eye while browsing a bookstore near the Harvard campus. The accessible content, coupled with real case studies, made for a delightful reading experience during my flight from TU Delft to MIT.
I resonated with the authors' emphasis on the importance of design thinking and design doing. How we can focus on moving beyond thought experiments to actionable ideas (P266). The book suggests that to make innovation happen, leaders must advocate for design thinking, secure resources, and support these activities (P43). It highlights the need to create a physical, purposefully built space for innovation that fosters collaboration and discovery (P265), builds relationships with like-minded talent (P261) to establish purposeful engagement (P259), and encourages good design thinking behaviors that lead to attitudinal changes (P266).
Besides, I particularly enjoyed the final chapter, which shares seven lessons from organizational transformation through the design lens (P257). These lessons include: 1. Building business cases from the top down; 2. Leveraging external stakeholders and resources to drive progress; 3. Building momentum and culture from the bottom up; 4. Training an army of advocates, addressing internal challenges, and finding allies; 5. Approaching new methods and tools with an open mind; 6. Preparing for challenges and having a growth model; 7. Measuring everything, communicating deliberately, and knowing when to stop.
These lessons stress the importance of gaining support from top management, external stakeholders, and employees and highlight how education and training programs can multiply this support. The book also acknowledges that every organizational transformation will likely violate established norms (P43). Expect the unexpected. Change is not easy, and the goal is to foster an innovation mindset and create a supportive work environment where individuals feel safe to take risks and share ideas (P171).
The book "Transform with Design: Creating New Innovation Capabilities with Design Thinking," edited by Jochen Schweitzer, Sihem BenMahmoud-Jouini, and Sebastian Fixson (published by Rotman-UTP Publishing), caught my eye while browsing a bookstore near the Harvard campus. The accessible content, coupled with real case studies, made for a delightful reading experience during my flight from TU Delft to MIT.
I resonated with the authors' emphasis on the importance of design thinking and design doing. How we can focus on moving beyond thought experiments to actionable ideas (P266). The book suggests that to make innovation happen, leaders must advocate for design thinking, secure resources, and support these activities (P43). It highlights the need to create a physical, purposefully built space for innovation that fosters collaboration and discovery (P265), builds relationships with like-minded talent (P261) to establish purposeful engagement (P259), and encourages good design thinking behaviors that lead to attitudinal changes (P266).
Besides, I particularly enjoyed the final chapter, which shares seven lessons from organizational transformation through the design lens (P257). These lessons include: 1. Building business cases from the top down; 2. Leveraging external stakeholders and resources to drive progress; 3. Building momentum and culture from the bottom up; 4. Training an army of advocates, addressing internal challenges, and finding allies; 5. Approaching new methods and tools with an open mind; 6. Preparing for challenges and having a growth model; 7. Measuring everything, communicating deliberately, and knowing when to stop.
These lessons stress the importance of gaining support from top management, external stakeholders, and employees and highlight how education and training programs can multiply this support. The book also acknowledges that every organizational transformation will likely violate established norms (P43). Expect the unexpected. Change is not easy, and the goal is to foster an innovation mindset and create a supportive work environment where individuals feel safe to take risks and share ideas (P171).
Designing for Longevity: Expert Strategies for Creating Long-lasting Products
August 3, 2024
While preparing to write my new book about design for longevity and service innovation in 2025, I found great inspiration and reference material in "Designing for Longevity: Expert Strategies for Creating Long-lasting Products" by Prof. Louise Møller Haase and Prof. Linda Nhu Laursen (published by Routledge). This informative and digestible book provides an action guide for researchers, practitioners, and individuals interested in product longevity, including product lifecycle, product durability, product obsolescence, and product lifetime (Jensen et al., 2021, P33).
The disruptive shift from linear and circular economics to longevity economics represents a global socioeconomic transformation. It challenges everyone to consider feasible design strategies for various longevity business models (P45). The authors define “product longevity” as products that are physically durable, provide long-term value for users (emotional durability), represent a viable business model, and generate a competitive advantage for the company (P34). Another angle to comprehend product longevity is through product integrity (P35).
I enjoyed the authors' use of five expert strategies (P90): renewing core principles, leveraging objections, foreseeing future mismatches, extending product value, and searching for hooks. These strategies discuss the conceptual framework to build ideal conditions to identify strong product-user, product-market, and product-company fits (P52). Achieving long-term strategic durability (P174) involves creating products with long-term strategic fits. These long-lasting products can address users’ long-term problems, needs, aspirations, and wishes, thereby building competitive advantage in the market, advancing trust in the company, and forming resilient values aligning with the organization's purpose and culture.
While preparing to write my new book about design for longevity and service innovation in 2025, I found great inspiration and reference material in "Designing for Longevity: Expert Strategies for Creating Long-lasting Products" by Prof. Louise Møller Haase and Prof. Linda Nhu Laursen (published by Routledge). This informative and digestible book provides an action guide for researchers, practitioners, and individuals interested in product longevity, including product lifecycle, product durability, product obsolescence, and product lifetime (Jensen et al., 2021, P33).
The disruptive shift from linear and circular economics to longevity economics represents a global socioeconomic transformation. It challenges everyone to consider feasible design strategies for various longevity business models (P45). The authors define “product longevity” as products that are physically durable, provide long-term value for users (emotional durability), represent a viable business model, and generate a competitive advantage for the company (P34). Another angle to comprehend product longevity is through product integrity (P35).
I enjoyed the authors' use of five expert strategies (P90): renewing core principles, leveraging objections, foreseeing future mismatches, extending product value, and searching for hooks. These strategies discuss the conceptual framework to build ideal conditions to identify strong product-user, product-market, and product-company fits (P52). Achieving long-term strategic durability (P174) involves creating products with long-term strategic fits. These long-lasting products can address users’ long-term problems, needs, aspirations, and wishes, thereby building competitive advantage in the market, advancing trust in the company, and forming resilient values aligning with the organization's purpose and culture.
Design for the Real World
July 29, 2024
Design for the Real World by Victor Papanek is a classic and a must-read for design academics, practitioners, and students. Papanek invites us to explore these critical questions: “What is creativity?" And "How can we design for survival and also survival through design? (P322)”
I appreciated Victor Papanek’s perception of integrated design. The primary emphasis in industrial design lies in an ethological and ecological approach to platforms, processes, and places (P193). Integrated design is a “total design,” considering design as a whole (P295). As integrated designers, we should remain generalists but recognize that most complex challenges today are interrelated, interdependent, and systematic (P294). Our environment can grow, transform, change, adapt, and regenerate in response to people’s desirability (P294).
Integrated design is not a set of skills, software techniques, or rules but should be considered a series of tasks occurring simultaneously rather than in an expected order (P295). It involves dynamic conditions that continuously change through time. Papanek understood design intention should be ecologically responsible, socially responsive, revolutionary, and radical in the truest sense (P347). An integrated designer combines the roles of “skin” designers (e.g., Detroit’s stylists) and “guts” designers (e.g., engineers and researchers).
I also admire Victor’s grand vision for design education. He viewed that education for designers involves learning design skills, nourishing creative talents, understanding the abstract concepts and theories that inform the field, and ultimately acquiring a philosophy and a lifestyle (P285). Victor mentioned that everything we design is like an extension of the individuals, from generalization to specialization.
Victor also stated that the most important ability a designer can bring to the world is recognizing, isolating, defining, and solving problems (P151) through employing analytical thinking, judgmental thinking, routine thinking, or creative thinking (P152). However, potential inhibitors such as perception, emotional, associational, cultural, professional, intellectual, and environmental blocks (P159) can prevent us from comprehending challenges and solving tasks in new and innovative ways.
Design for the Real World by Victor Papanek is a classic and a must-read for design academics, practitioners, and students. Papanek invites us to explore these critical questions: “What is creativity?" And "How can we design for survival and also survival through design? (P322)”
I appreciated Victor Papanek’s perception of integrated design. The primary emphasis in industrial design lies in an ethological and ecological approach to platforms, processes, and places (P193). Integrated design is a “total design,” considering design as a whole (P295). As integrated designers, we should remain generalists but recognize that most complex challenges today are interrelated, interdependent, and systematic (P294). Our environment can grow, transform, change, adapt, and regenerate in response to people’s desirability (P294).
Integrated design is not a set of skills, software techniques, or rules but should be considered a series of tasks occurring simultaneously rather than in an expected order (P295). It involves dynamic conditions that continuously change through time. Papanek understood design intention should be ecologically responsible, socially responsive, revolutionary, and radical in the truest sense (P347). An integrated designer combines the roles of “skin” designers (e.g., Detroit’s stylists) and “guts” designers (e.g., engineers and researchers).
I also admire Victor’s grand vision for design education. He viewed that education for designers involves learning design skills, nourishing creative talents, understanding the abstract concepts and theories that inform the field, and ultimately acquiring a philosophy and a lifestyle (P285). Victor mentioned that everything we design is like an extension of the individuals, from generalization to specialization.
Victor also stated that the most important ability a designer can bring to the world is recognizing, isolating, defining, and solving problems (P151) through employing analytical thinking, judgmental thinking, routine thinking, or creative thinking (P152). However, potential inhibitors such as perception, emotional, associational, cultural, professional, intellectual, and environmental blocks (P159) can prevent us from comprehending challenges and solving tasks in new and innovative ways.
Design is a Bliss of Solitude
July 16, 2024
“You don’t think your way to creative work. You work your way to creative thinking.”
—George Nelson
The book titled “Design is a Bliss of Solitude (設計是一種孤獨的幸福)” by David Lo immediately caught my eye when I discovered it on the bookshelf at the Eslite Bookstore. This beautiful book with creative designs, thoughtful visuals, and insightful content was a comforting companion during my nine-hour flight delay from Taipei to Boston, with a transfer to San Francisco.
Lo generously shared his design journey, from being a design student to design leader, design educator, and design entrepreneur. His words, filled with warmth and power, inspired me as a junior designer eager to explore the world and grow passionately and fearlessly.
His sentiment, “It feels good to be lost in the right direction. You know you are truly alive when you’re living among lions,” resonated deeply with me. I am fortunate to work in the creative and academic fields, even though my parents often don’t understand what I do and my life is a constant hustle. Most of us are imperfectly perfect in our imperfect world.
I admire and agree with his design philosophy and persistence in the design profession. As he mentioned in the book, “Adventure may hurt you, but monotony will kill you.” We should seize every opportunity when we are young, so we have success, failure, and no so interesting stories to share when we are old.
“You don’t think your way to creative work. You work your way to creative thinking.”
—George Nelson
The book titled “Design is a Bliss of Solitude (設計是一種孤獨的幸福)” by David Lo immediately caught my eye when I discovered it on the bookshelf at the Eslite Bookstore. This beautiful book with creative designs, thoughtful visuals, and insightful content was a comforting companion during my nine-hour flight delay from Taipei to Boston, with a transfer to San Francisco.
Lo generously shared his design journey, from being a design student to design leader, design educator, and design entrepreneur. His words, filled with warmth and power, inspired me as a junior designer eager to explore the world and grow passionately and fearlessly.
His sentiment, “It feels good to be lost in the right direction. You know you are truly alive when you’re living among lions,” resonated deeply with me. I am fortunate to work in the creative and academic fields, even though my parents often don’t understand what I do and my life is a constant hustle. Most of us are imperfectly perfect in our imperfect world.
I admire and agree with his design philosophy and persistence in the design profession. As he mentioned in the book, “Adventure may hurt you, but monotony will kill you.” We should seize every opportunity when we are young, so we have success, failure, and no so interesting stories to share when we are old.
The Essence of Design
July 11, 2024
I found this interesting old book at Eslite Bookstore in Taipei because of its eye-catching Mandarin title, “設計的精神,” which I interpreted as “The Essence of Design.”
Published in 2009 for BODW (Business of Design Week), the book gathers insights from 31 world-renowned design leaders and entrepreneurs, including Eric Chen, Bill Moggridge, Ron Arad, Yung Ho Chang, Karim Rashid, and Peter Zec. They share their visions on design and creativity across various industries and academic fields. Despite it being 2024, most of the views and concerns remain relevant.
This enabled me to deeply and strategically consider questions such as “What constitutes timeless designs for and with people and communities?”, “How might we design products, services, and experiences for longevity and systems?”, “What are the criteria for measuring the positive social impact of design?”, and “How can we infuse or integrate adaptability, scalability, desirability, and feasibility into complex design challenges and solutions?”
I found this interesting old book at Eslite Bookstore in Taipei because of its eye-catching Mandarin title, “設計的精神,” which I interpreted as “The Essence of Design.”
Published in 2009 for BODW (Business of Design Week), the book gathers insights from 31 world-renowned design leaders and entrepreneurs, including Eric Chen, Bill Moggridge, Ron Arad, Yung Ho Chang, Karim Rashid, and Peter Zec. They share their visions on design and creativity across various industries and academic fields. Despite it being 2024, most of the views and concerns remain relevant.
This enabled me to deeply and strategically consider questions such as “What constitutes timeless designs for and with people and communities?”, “How might we design products, services, and experiences for longevity and systems?”, “What are the criteria for measuring the positive social impact of design?”, and “How can we infuse or integrate adaptability, scalability, desirability, and feasibility into complex design challenges and solutions?”
Design and Innovation: 50 Ways to Create the Future
July 5, 2024
I finished reading the book "Design and Innovation: 50 Ways to Create the Future" by Elsuke Tachikawa (Nosigner) on my way to get my US visa in Taipei City. Despite the hot and humid summer, reading Elsuke’s book felt refreshing and delightful, like taking a cool shower.
This book distills content from Elsuke’s life and work experiences, showcasing his broad range of expertise, which fuels his creativity (P84). Elsuke categorizes the book into five chapters: starting work, creating good design, triggering innovation, producing collective wisdom, and creating future value.
I enjoyed his design insights and philosophy, which reflect a strong human-centered culture and empathy. For example, he mentioned that we don’t just see but “view” (P110). He advises being aware and true to your sense of discomfort (P80). Eastern culture, deeply embedded in his design perspectives, emphasizes that simplicity is about making definitions obvious (P126), condensing meanings into words (P72), learning from context, and contributing to the history of creativity (P214). He highlights that designers should satisfy both novelty and universality (P114).
According to Elsuke, design is a collective decision-making process involving various stakeholders. He suggests that great solutions come not from changing the form but from changing the relationship (P150). He believes that luck is shaped by your relationship with others (P198). He also mentioned that when we comprehend the common rules in the systems, we consider how to hack them in the context (P122). Notably, great ideas often arise when we imagine the extreme and decompose stereotypes (P146).
I finished reading the book "Design and Innovation: 50 Ways to Create the Future" by Elsuke Tachikawa (Nosigner) on my way to get my US visa in Taipei City. Despite the hot and humid summer, reading Elsuke’s book felt refreshing and delightful, like taking a cool shower.
This book distills content from Elsuke’s life and work experiences, showcasing his broad range of expertise, which fuels his creativity (P84). Elsuke categorizes the book into five chapters: starting work, creating good design, triggering innovation, producing collective wisdom, and creating future value.
I enjoyed his design insights and philosophy, which reflect a strong human-centered culture and empathy. For example, he mentioned that we don’t just see but “view” (P110). He advises being aware and true to your sense of discomfort (P80). Eastern culture, deeply embedded in his design perspectives, emphasizes that simplicity is about making definitions obvious (P126), condensing meanings into words (P72), learning from context, and contributing to the history of creativity (P214). He highlights that designers should satisfy both novelty and universality (P114).
According to Elsuke, design is a collective decision-making process involving various stakeholders. He suggests that great solutions come not from changing the form but from changing the relationship (P150). He believes that luck is shaped by your relationship with others (P198). He also mentioned that when we comprehend the common rules in the systems, we consider how to hack them in the context (P122). Notably, great ideas often arise when we imagine the extreme and decompose stereotypes (P146).
Collectively Designing Social Worlds
July 2, 2024
This book, "Collectively Designing Social Worlds," was written by and gifted to me by Prof. Carla Sedini of the Design Department at Politecnico di Milano. I finished reading the book during my 20-hour flight from Boston to Taipei. The rich content with insightful perspectives effectively helped me forget the fatigue of the long flight. She explores design through the lens of sociology and various dimensions to deepen our understanding of design.
What is the difference between design research (P53) and research through design (P56)? What does social capital stand for (P71)? How do we apply grounded theory and boundary objects to the design process (P80)?
Sedini asserts that design is a “way of thinking” that can be viewed as a subject or object, content or container (P55). She emphasizes involving people as subjects, not objects. Additionally, the trend has shifted from designing for users to designing with users, moving towards a co-creation process (P66). At the end of the book, she uses two extensive projects to connect the dots and demonstrate how to apply multifaceted approaches to comprehend and solve complex social challenges.
She discusses the social role of universities using the quintuple helix model (Carayannis & Campbell, 2010), which includes the environment, civil society, academia, government, and industry (P46). I particularly appreciated the additional dimension of civil society, which encompasses the public, users, and consumers. Civil society is also a domain where desirability and urgency have an impact and where social transformation actions emerge.
I found the term “well-being scalability” insightful. This concept should be considered in every research project addressing social innovation (P41). She explains well-being scalability through three dimensions: Scale out: impact on greater numbers. Scale up: impact on laws, policies, and institutions. Scale deep: impact on cultural roots. Well-being scalability should be considered throughout most research projects (P115).
This book, "Collectively Designing Social Worlds," was written by and gifted to me by Prof. Carla Sedini of the Design Department at Politecnico di Milano. I finished reading the book during my 20-hour flight from Boston to Taipei. The rich content with insightful perspectives effectively helped me forget the fatigue of the long flight. She explores design through the lens of sociology and various dimensions to deepen our understanding of design.
What is the difference between design research (P53) and research through design (P56)? What does social capital stand for (P71)? How do we apply grounded theory and boundary objects to the design process (P80)?
Sedini asserts that design is a “way of thinking” that can be viewed as a subject or object, content or container (P55). She emphasizes involving people as subjects, not objects. Additionally, the trend has shifted from designing for users to designing with users, moving towards a co-creation process (P66). At the end of the book, she uses two extensive projects to connect the dots and demonstrate how to apply multifaceted approaches to comprehend and solve complex social challenges.
She discusses the social role of universities using the quintuple helix model (Carayannis & Campbell, 2010), which includes the environment, civil society, academia, government, and industry (P46). I particularly appreciated the additional dimension of civil society, which encompasses the public, users, and consumers. Civil society is also a domain where desirability and urgency have an impact and where social transformation actions emerge.
I found the term “well-being scalability” insightful. This concept should be considered in every research project addressing social innovation (P41). She explains well-being scalability through three dimensions: Scale out: impact on greater numbers. Scale up: impact on laws, policies, and institutions. Scale deep: impact on cultural roots. Well-being scalability should be considered throughout most research projects (P115).
The Materials of Service Design
June 10, 2024
If design is about forming materials, then what are the materials of service design?
This question intrigued me while reading The Materials of Service Design by Prof. Johan Blomkvist, Prof. Simon Clatworthy, and Prof. Stefan Holmlid. This book redefines tangibility in service design, transitioning from the material of invention to the material of innovation (P53).
What mediums project service design, shaping our experiences? Various touchpoints, artifacts, and social structures are involved (P59). How do we render the invisible visible (Vink and Koskela-Huotari, 2021)? In service design, can we integrate both channels, including data-driven design and design-driven data (P159)? Alternatively, what if we consider behavior itself as a material of service design (P131)?
Michie et al. (2011) propose that behavior stems from variations in a system of factors, discussed in the COM-B model of human behavior, which stands for capacity, opportunity, and motivation. Designers are challenged to master rapid experimental prototyping (P140), an extension of rapid product prototyping. This approach shifts perspective from an outsider visiting a destination to a local experiencing it as part of a destination (P180).
If design is about forming materials, then what are the materials of service design?
This question intrigued me while reading The Materials of Service Design by Prof. Johan Blomkvist, Prof. Simon Clatworthy, and Prof. Stefan Holmlid. This book redefines tangibility in service design, transitioning from the material of invention to the material of innovation (P53).
What mediums project service design, shaping our experiences? Various touchpoints, artifacts, and social structures are involved (P59). How do we render the invisible visible (Vink and Koskela-Huotari, 2021)? In service design, can we integrate both channels, including data-driven design and design-driven data (P159)? Alternatively, what if we consider behavior itself as a material of service design (P131)?
Michie et al. (2011) propose that behavior stems from variations in a system of factors, discussed in the COM-B model of human behavior, which stands for capacity, opportunity, and motivation. Designers are challenged to master rapid experimental prototyping (P140), an extension of rapid product prototyping. This approach shifts perspective from an outsider visiting a destination to a local experiencing it as part of a destination (P180).
Outlive: The Science and Art of Longevity
May 29, 2024
I picked up Peter Attia, MD's book Outlive: The Science and Art of Longevity, when I began my Ph.D. at Massachusetts Institute of Technology (MIT). Mike Peng, my design mentor and ex-IDEO colleague, recommended this book. My research focuses on Design for Longevity (D4L) and service systems, and Mike thought this 482-page book would enrich my studies. It's a dense read that demands patience and perhaps a sturdy bag to carry it in.
As I juggle job hunting, experiments, publications, and teaching at the start of the summer, I find time to delve into this voluminous text. This is not a formal book review—there are plenty of those already discussing its contributions to the field of longevity, medicine, and health. Instead, I want to share how it intersects with my work at the MIT AgeLab and the MIT Ideation Lab, particularly on longevity's social and service design implications.
Peter Attia offers a blend of scientific and medical insights into longevity. He discusses concepts such as Zone 2 exercise, the paradigm shift from Medical 2.0 to Medical 3.0 (P33), and the importance of metabolic health and exercise in maintaining physical, cognitive, and emotional well-being. One of the standout quotes from the book, "Exercise is by far the most potent longevity drug," underscores the vital role of physical activity (P17, P216). Similarly, he emphasizes the interconnectedness of longevity with cognitive (P376), emotional, and physical health (P381) to impact people’s quality of life.
A compelling idea from the book that resonated with me is that pursuing longevity is meaningless if it doesn't improve the quality of our lives and relationships (P409). Attia wraps up with a provocative question about our "true age" and challenges us to continue dreaming, thinking about the future, and being aspirational, suggesting that people age when they stop envisioning what's ahead (P411).
I picked up Peter Attia, MD's book Outlive: The Science and Art of Longevity, when I began my Ph.D. at Massachusetts Institute of Technology (MIT). Mike Peng, my design mentor and ex-IDEO colleague, recommended this book. My research focuses on Design for Longevity (D4L) and service systems, and Mike thought this 482-page book would enrich my studies. It's a dense read that demands patience and perhaps a sturdy bag to carry it in.
As I juggle job hunting, experiments, publications, and teaching at the start of the summer, I find time to delve into this voluminous text. This is not a formal book review—there are plenty of those already discussing its contributions to the field of longevity, medicine, and health. Instead, I want to share how it intersects with my work at the MIT AgeLab and the MIT Ideation Lab, particularly on longevity's social and service design implications.
Peter Attia offers a blend of scientific and medical insights into longevity. He discusses concepts such as Zone 2 exercise, the paradigm shift from Medical 2.0 to Medical 3.0 (P33), and the importance of metabolic health and exercise in maintaining physical, cognitive, and emotional well-being. One of the standout quotes from the book, "Exercise is by far the most potent longevity drug," underscores the vital role of physical activity (P17, P216). Similarly, he emphasizes the interconnectedness of longevity with cognitive (P376), emotional, and physical health (P381) to impact people’s quality of life.
A compelling idea from the book that resonated with me is that pursuing longevity is meaningless if it doesn't improve the quality of our lives and relationships (P409). Attia wraps up with a provocative question about our "true age" and challenges us to continue dreaming, thinking about the future, and being aspirational, suggesting that people age when they stop envisioning what's ahead (P411).
Mastering Product Innovation: The Ultimate Guide for Successful Design
May 19, 2024
While I am occupied with design experiments and interviews during the weekdays, reading books over the weekend satisfies my intellectual needs and passion for design. I enjoyed reading "Mastering Product Innovation: The Ultimate Guide for Successful Design" by Prof. Walter B. Herbst during the chilly and rainy weekend at the MIT.
Herbert Simon, a Nobel Laureate in Economics and computer scientist, stated in 1969 that design is "not only a science but also a way of thinking." This echoes John Dewey’s interpretation of design thinking, where everything that exists—as far as it is known—is an interaction with other entities (P42). The author emphasizes that his comprehension of design is to explore the emotional content of aspirational needs (P53).
Additionally, I appreciate how the author promotes the PDR (Product Document Requirement) concept, which can be integrated into the product design and development process (P56). Drawing from his extensive academic and industry experience, he outlines his structured phase gate activities (P151) to demonstrate how to incorporate PDR effectively using solid case studies. The phase gate methodology spans from phases 0 to 7: planning, discovery research, visioning, concept development, review, preferences research, confirm channel, and design consideration.
This has led me to consider how design can be strategically positioned within an organization to drive transformational change. The three objective-based planning business models introduced by the author provide a source of inspiration and guidance. I am inspired by how he applies and visualizes these ideas through a cascading structure, discussing various layers of influence across the organization and design process. For instance, using OGSMT (Objectives, Goals, Strategy, Measure, and Tactic) can impact both executive and individual levels (P157). Applying V2MOM (Vision, Values, Methods, Obstacles, Measures) influences business and individual levels (P173). Lastly, the benefits of using OKRs (Objectives and Key Results) can span corporate, business, departmental, group, and individual levels (P165).
While I am occupied with design experiments and interviews during the weekdays, reading books over the weekend satisfies my intellectual needs and passion for design. I enjoyed reading "Mastering Product Innovation: The Ultimate Guide for Successful Design" by Prof. Walter B. Herbst during the chilly and rainy weekend at the MIT.
Herbert Simon, a Nobel Laureate in Economics and computer scientist, stated in 1969 that design is "not only a science but also a way of thinking." This echoes John Dewey’s interpretation of design thinking, where everything that exists—as far as it is known—is an interaction with other entities (P42). The author emphasizes that his comprehension of design is to explore the emotional content of aspirational needs (P53).
Additionally, I appreciate how the author promotes the PDR (Product Document Requirement) concept, which can be integrated into the product design and development process (P56). Drawing from his extensive academic and industry experience, he outlines his structured phase gate activities (P151) to demonstrate how to incorporate PDR effectively using solid case studies. The phase gate methodology spans from phases 0 to 7: planning, discovery research, visioning, concept development, review, preferences research, confirm channel, and design consideration.
This has led me to consider how design can be strategically positioned within an organization to drive transformational change. The three objective-based planning business models introduced by the author provide a source of inspiration and guidance. I am inspired by how he applies and visualizes these ideas through a cascading structure, discussing various layers of influence across the organization and design process. For instance, using OGSMT (Objectives, Goals, Strategy, Measure, and Tactic) can impact both executive and individual levels (P157). Applying V2MOM (Vision, Values, Methods, Obstacles, Measures) influences business and individual levels (P173). Lastly, the benefits of using OKRs (Objectives and Key Results) can span corporate, business, departmental, group, and individual levels (P165).
Right Place, Right Time: The Ultimate Guide to Choosing a Home for the Second Half of Life
May 13, 2024
In the midst of uncertainty, protest, and the final week of the semester at MIT, I discover tranquility by reading Right Place, Right Time: The Ultimate Guide to Choosing a Home for the Second Half of Life by Ryan Frederick, including its Foreword by Paul Irving.
How do we redefine the "third place" beyond our homes and workplaces? What does home truly mean to you? What’s the difference between a house and a home? How can the design process help us interactively identify our ideal living space (P42)?
These questions delve into complex socio-economic challenges that extend beyond mere design. For instance, Frederick outlines six physical elements that define a home, ranging from the individual dwelling to the broader city landscape: physical dwelling, neighborhood, urban/suburban/rural areas, metropolitan area, state, and region (P60). The AARP Livability Index evaluates seven factors: housing, neighborhood, transportation, environment, health, engagement, and opportunity. The Milken Institute centers its assessment on nine criteria: community engagement, general livability, health care, wellness, financial security, education, transportation and convenience, employment, and living arrangements (P64).
I'm particularly inspired by Frederick's reimagined concept of aging in place, emphasizing active "living" in a "community" rather than merely “aging” in a "place" (P47 and P54). This perspective underlines that human beings are continuously both aging and living. Regardless of how we perceive the image of a house or home, it fundamentally relates to our lifestyle, encompassing social interation, physical activities, intellectual engagement, and entertainment (P115). The notion of a healthy space encompasses both physical and mental well-being with respect and meaning.
In the midst of uncertainty, protest, and the final week of the semester at MIT, I discover tranquility by reading Right Place, Right Time: The Ultimate Guide to Choosing a Home for the Second Half of Life by Ryan Frederick, including its Foreword by Paul Irving.
How do we redefine the "third place" beyond our homes and workplaces? What does home truly mean to you? What’s the difference between a house and a home? How can the design process help us interactively identify our ideal living space (P42)?
These questions delve into complex socio-economic challenges that extend beyond mere design. For instance, Frederick outlines six physical elements that define a home, ranging from the individual dwelling to the broader city landscape: physical dwelling, neighborhood, urban/suburban/rural areas, metropolitan area, state, and region (P60). The AARP Livability Index evaluates seven factors: housing, neighborhood, transportation, environment, health, engagement, and opportunity. The Milken Institute centers its assessment on nine criteria: community engagement, general livability, health care, wellness, financial security, education, transportation and convenience, employment, and living arrangements (P64).
I'm particularly inspired by Frederick's reimagined concept of aging in place, emphasizing active "living" in a "community" rather than merely “aging” in a "place" (P47 and P54). This perspective underlines that human beings are continuously both aging and living. Regardless of how we perceive the image of a house or home, it fundamentally relates to our lifestyle, encompassing social interation, physical activities, intellectual engagement, and entertainment (P115). The notion of a healthy space encompasses both physical and mental well-being with respect and meaning.
Explorers: Thoughts on Mapping in Design Research
May 4, 2024
How might we better visualize complexity and systemic challenges? Mapping our thoughts could offer an alternative perspective.
Two months ago, I delved into the editorial design collection "Explorers: Thoughts on Mapping in Design Research" by Stby, finding a wealth of insights on mapping invisible callenges, system of systems, sensory mapping, and even speculative mapping in policymaking within social structures.
For example, Michael Johnson and Megan Anderson highlighted the concept of bringing boundaries through mapping (P28), leveraging "design artifact" with the notion of a "boundary object," initially proposed by Star and Griesemer (1989) to facilitate cooperation among teams from diverse backgrounds without necessarily reaching a consensus. Jesse Grimes (P19) shared his perspectives on conveying the complexity of services through visualizing the "service ecosystem." Jesse also offered clear instructions and informative visuals on how we can create our own service ecosystem.
These profound insights, coupled with concrete examples, inspired me and prompted me to explore the experimental application of the boundary objects theory to examine our built environment and human behavior through the lens of Design for Longevity (D4L).
How might we better visualize complexity and systemic challenges? Mapping our thoughts could offer an alternative perspective.
Two months ago, I delved into the editorial design collection "Explorers: Thoughts on Mapping in Design Research" by Stby, finding a wealth of insights on mapping invisible callenges, system of systems, sensory mapping, and even speculative mapping in policymaking within social structures.
For example, Michael Johnson and Megan Anderson highlighted the concept of bringing boundaries through mapping (P28), leveraging "design artifact" with the notion of a "boundary object," initially proposed by Star and Griesemer (1989) to facilitate cooperation among teams from diverse backgrounds without necessarily reaching a consensus. Jesse Grimes (P19) shared his perspectives on conveying the complexity of services through visualizing the "service ecosystem." Jesse also offered clear instructions and informative visuals on how we can create our own service ecosystem.
These profound insights, coupled with concrete examples, inspired me and prompted me to explore the experimental application of the boundary objects theory to examine our built environment and human behavior through the lens of Design for Longevity (D4L).
The 100-Year Life: Living and Working in an Age of Longevity
April 28, 2024
Last week, I enjoyed finishing this book "The 100-Year Life: Living and Working in an Age of Longevity" by Lynda Gratton and Andrew Scott. I was also fortunate to attend the launch event for Professor Scott's new book, “The Longevity Imperative: How to Build a Healthier and More Productive Society to Support Our Longer Lives”, co-hosted by MIT AgeLab and TIAA at MIT Sloan. The authors provide a unique perspective on economics and social science to discuss longevity. I particularly appreciated the way they structured the book, weaving life-relevant examples into nine chapters on topics such as living, financing, working, intangibles, scenarios, stages, money, time, and relationships.
Longevity presents complex challenges that everyone faces, including issues of identity, choice, and risk, all of which help us navigate a long life (P17). The factors influencing and impacting how we live a long life are diverse, complicated, and systematic—economic and financial, psychological and sociological, medical and demographic (P16). We are already in the era of longevity economics, driven by service and experience industries. Preparing for the future involves transferring money and other social currencies from today to the future, a task most find difficult when trying to connect their current self with their future self (P201).
What impressed and inspired me most was how the authors re-defined "asset" as a figure of merit to measure the quality of longevity planning or the concept of longevity. They describe an asset as something that provides benefits over time (P86) and categorize five different types of assets (P85, P112, P130): tangible assets (e.g., money, pensions, homes) and intangible assets (e.g., emotional support, a wide circle of friends). Among the intangible assets, they identify productive assets (e.g., reputation, peers, knowledge), vitality assets (e.g., regenerative friendships, health, balanced living), and transformational assets (e.g., diverse networks, self-knowledge). This approach effectively helps individuals comprehend the importance of longevity planning and reminds us of what we can and should do to prepare for living and working in an age of longevity.
Last week, I enjoyed finishing this book "The 100-Year Life: Living and Working in an Age of Longevity" by Lynda Gratton and Andrew Scott. I was also fortunate to attend the launch event for Professor Scott's new book, “The Longevity Imperative: How to Build a Healthier and More Productive Society to Support Our Longer Lives”, co-hosted by MIT AgeLab and TIAA at MIT Sloan. The authors provide a unique perspective on economics and social science to discuss longevity. I particularly appreciated the way they structured the book, weaving life-relevant examples into nine chapters on topics such as living, financing, working, intangibles, scenarios, stages, money, time, and relationships.
Longevity presents complex challenges that everyone faces, including issues of identity, choice, and risk, all of which help us navigate a long life (P17). The factors influencing and impacting how we live a long life are diverse, complicated, and systematic—economic and financial, psychological and sociological, medical and demographic (P16). We are already in the era of longevity economics, driven by service and experience industries. Preparing for the future involves transferring money and other social currencies from today to the future, a task most find difficult when trying to connect their current self with their future self (P201).
What impressed and inspired me most was how the authors re-defined "asset" as a figure of merit to measure the quality of longevity planning or the concept of longevity. They describe an asset as something that provides benefits over time (P86) and categorize five different types of assets (P85, P112, P130): tangible assets (e.g., money, pensions, homes) and intangible assets (e.g., emotional support, a wide circle of friends). Among the intangible assets, they identify productive assets (e.g., reputation, peers, knowledge), vitality assets (e.g., regenerative friendships, health, balanced living), and transformational assets (e.g., diverse networks, self-knowledge). This approach effectively helps individuals comprehend the importance of longevity planning and reminds us of what we can and should do to prepare for living and working in an age of longevity.
Design as Democratic Inquiry
April 19, 2024
Having completed the intense preparation of my application materials for my academic job talk, I've managed to carve out time to reflect on "Design as Democratic Inquiry" by Prof. Carl DiSalvo, a 2022 MIT Press publication. The book presented intriguing perspectives and methodologies, as Prof. DiSalvo employed design as a mode of inquiry (P179) to delve into the symbiosis of design and democracy. Notably, Prof. DiSalvo adopts the term "civics" to mean "democracy on a micro scale," representing those contextual or situated experiences that are conducive to fostering unity, collective agency, and a sense of community (P19).
I consider that design is an application science. It sits alongside art, craft, writing, and other creative disciplines as valid forms of imaginative making. The author mentioned that design's role in civics may not fit the strict definition of science (P22). Nonetheless, I concur with the notion that design experiments in civics intricately weave together imaginative making, political theories, and social structure (P16). The author suggests that design experiments in civics are creative practices to reconfigure our communal existence, essentially framing them as means of democratic inquiry through design (P15).
The book also contemplates the practice and conceptualization of design within the realm of democratic inquiry. Particularly, it considers complex and systemic socioeconomic projects as emergent from the interplay among individuals, institutions, and ideologies (P7). Prof. DiSalvo’s objective, in his various projects and experiences, was to define a design practice that is active, imaginative, and inherently political.
Having completed the intense preparation of my application materials for my academic job talk, I've managed to carve out time to reflect on "Design as Democratic Inquiry" by Prof. Carl DiSalvo, a 2022 MIT Press publication. The book presented intriguing perspectives and methodologies, as Prof. DiSalvo employed design as a mode of inquiry (P179) to delve into the symbiosis of design and democracy. Notably, Prof. DiSalvo adopts the term "civics" to mean "democracy on a micro scale," representing those contextual or situated experiences that are conducive to fostering unity, collective agency, and a sense of community (P19).
I consider that design is an application science. It sits alongside art, craft, writing, and other creative disciplines as valid forms of imaginative making. The author mentioned that design's role in civics may not fit the strict definition of science (P22). Nonetheless, I concur with the notion that design experiments in civics intricately weave together imaginative making, political theories, and social structure (P16). The author suggests that design experiments in civics are creative practices to reconfigure our communal existence, essentially framing them as means of democratic inquiry through design (P15).
The book also contemplates the practice and conceptualization of design within the realm of democratic inquiry. Particularly, it considers complex and systemic socioeconomic projects as emergent from the interplay among individuals, institutions, and ideologies (P7). Prof. DiSalvo’s objective, in his various projects and experiences, was to define a design practice that is active, imaginative, and inherently political.
Dark Matter and Trojan Horses: A Strategic Design Vocabulary
April 11, 2024
Last month, I read Dan Hill’s book—Dark Matter and Trojan Horses: A Strategic Design Vocabulary. This book offers a thought-provoking perspective into the evolving realm of design. Hill challenges us to think like a designer (P113) and behave as a design leader in the context of transformation. The interpretation of design and design outcomes are no longer concerned only with objects. Design is concerned with service and is centered around systems—and now cares about systems of systems or ecologies (P132). Furthermore, within the traditional design practice, strategic design has changed from products, services, and space to encompass relationships, contexts, and strategies. This approach maintains a crucial balance between overarching concepts and tangible realities, while actively engaging with public and civic issues alongside commercial ones without losing sight of the symbiotic relationship (P168).
Hill portrays design as an inherently interactive discipline, adept at navigating the spaces between entities, understanding intersections, and synthesizing rather than merely analyzing (P135). He advocates for a design approach that blends pragmatism with imagination, emphasizes prototyping, learns from execution, and communicates through tangible projects. This method seeks to harmonize strategic intent and political capital with iterative actions, systems thinking, and user-centered design (P168). Hill encourages us to view design as a cultural invention (P118), positioning designers not just as creators but as influential shapers of culture.
Last month, I read Dan Hill’s book—Dark Matter and Trojan Horses: A Strategic Design Vocabulary. This book offers a thought-provoking perspective into the evolving realm of design. Hill challenges us to think like a designer (P113) and behave as a design leader in the context of transformation. The interpretation of design and design outcomes are no longer concerned only with objects. Design is concerned with service and is centered around systems—and now cares about systems of systems or ecologies (P132). Furthermore, within the traditional design practice, strategic design has changed from products, services, and space to encompass relationships, contexts, and strategies. This approach maintains a crucial balance between overarching concepts and tangible realities, while actively engaging with public and civic issues alongside commercial ones without losing sight of the symbiotic relationship (P168).
Hill portrays design as an inherently interactive discipline, adept at navigating the spaces between entities, understanding intersections, and synthesizing rather than merely analyzing (P135). He advocates for a design approach that blends pragmatism with imagination, emphasizes prototyping, learns from execution, and communicates through tangible projects. This method seeks to harmonize strategic intent and political capital with iterative actions, systems thinking, and user-centered design (P168). Hill encourages us to view design as a cultural invention (P118), positioning designers not just as creators but as influential shapers of culture.
Ruined by Design: How Designers Destroyed the World, and What We Can Do to Fix It
April 7, 2024
Mike Monteiro shared his life and work experience in the design field in his book—Ruined by Design: How Designers Destroyed the World, and What We Can Do to Fix It. Unsurprisingly, most people recognized that design is a verb (P69) for personal expression or social act. He emphasizes that design's impact is primarily determined by the designer's actions rather than their intentions (P82). The traditional view confines design to specific crafts as a professional discipline. Designer’s job is not just to protect the people or users who come in contact with the tools we build (P58). In the transformation era, designers advocate for a broader approach that considers political, cultural, systemic, and global complexities.
Monteiro argued the role and responsibility of being a designer has grown significantly in importance, particularly since the general impression of designers still equates designing with “the pushing of pixels” (P141). The designers’ values are more than moving pixels, changing line colors, and shaping product forms on paper. He argued that designers do not simply serve as cogs in the machines of society, instead like oil or catalysts ensuring the smooth operation and harmony of societal systems (P107).
Monteiro points out that reluctance towards design research often stems from big ego and fear, rather than a lack of capability (P117). In the field, designers don’t ask for permission to do their job and research (P109). Sometimes, asking for forgiveness is more important than permission. Monteiro also discussed the importance of design leadership and culture. For example, why do bosses need to teach designers to think outside the box when they can hire talents outside the box (P74)? Having a successful design career has little to do with how creative designers are (P65). Companies and design leaders invest not only in ideas but also in the people who can shape and build the creative culture and energy around those ideas.
Mike Monteiro shared his life and work experience in the design field in his book—Ruined by Design: How Designers Destroyed the World, and What We Can Do to Fix It. Unsurprisingly, most people recognized that design is a verb (P69) for personal expression or social act. He emphasizes that design's impact is primarily determined by the designer's actions rather than their intentions (P82). The traditional view confines design to specific crafts as a professional discipline. Designer’s job is not just to protect the people or users who come in contact with the tools we build (P58). In the transformation era, designers advocate for a broader approach that considers political, cultural, systemic, and global complexities.
Monteiro argued the role and responsibility of being a designer has grown significantly in importance, particularly since the general impression of designers still equates designing with “the pushing of pixels” (P141). The designers’ values are more than moving pixels, changing line colors, and shaping product forms on paper. He argued that designers do not simply serve as cogs in the machines of society, instead like oil or catalysts ensuring the smooth operation and harmony of societal systems (P107).
Monteiro points out that reluctance towards design research often stems from big ego and fear, rather than a lack of capability (P117). In the field, designers don’t ask for permission to do their job and research (P109). Sometimes, asking for forgiveness is more important than permission. Monteiro also discussed the importance of design leadership and culture. For example, why do bosses need to teach designers to think outside the box when they can hire talents outside the box (P74)? Having a successful design career has little to do with how creative designers are (P65). Companies and design leaders invest not only in ideas but also in the people who can shape and build the creative culture and energy around those ideas.
Designerly Ways of Knowing: A Working Inventory of Things a Designer Should Know
March 16, 2024
I recently finished reading "Designerly Ways of Knowing: A Working Inventory of Things a Designer Should Know" by Danah Abdullah, published by Onomatopee.
Drawing inspiration from Michael Sorkin’s "Two Hundred and Fifty Things an Architect Should Know," Danah has compiled her own list of 240 essential elements—including questions, ideas, and statements—that designers ought to be familiar with. Among the provocative concepts that have resonated with me are: When not to design(P13); What is current and how does that create currency? (P23); That definitions belong to the definers, not the defined (P23); The reasons for the split between design and art (P39); The idea of too far (P41); The idea of too close (P41).
This compact book is designed for easy reading, whether during a morning commute on the metro or as a leisurely weekend activity. Danah's insights are intended to stimulate conversation, encourage critical thinking, and empower designers to reevaluate their creative approach to their craft. It also underscores a pivotal message she conveys in her book “Every designer also needs to be a generalist.“ The necessity for creative talents to possess a broad range of knowledge and skills.
I recently finished reading "Designerly Ways of Knowing: A Working Inventory of Things a Designer Should Know" by Danah Abdullah, published by Onomatopee.
Drawing inspiration from Michael Sorkin’s "Two Hundred and Fifty Things an Architect Should Know," Danah has compiled her own list of 240 essential elements—including questions, ideas, and statements—that designers ought to be familiar with. Among the provocative concepts that have resonated with me are: When not to design(P13); What is current and how does that create currency? (P23); That definitions belong to the definers, not the defined (P23); The reasons for the split between design and art (P39); The idea of too far (P41); The idea of too close (P41).
This compact book is designed for easy reading, whether during a morning commute on the metro or as a leisurely weekend activity. Danah's insights are intended to stimulate conversation, encourage critical thinking, and empower designers to reevaluate their creative approach to their craft. It also underscores a pivotal message she conveys in her book “Every designer also needs to be a generalist.“ The necessity for creative talents to possess a broad range of knowledge and skills.
Artful Objects: Graham Harman on Art and the Business of Speculative Realism
February 24, 2024
I read this pocket-size book: Artful Objects: Graham Harman on Art and the Business of Speculative Realism By Graham Harman, while working on a research project over the winter break collaborating with the Innovation Center Social Design Hub at the Moholy-Nagy University of Art and Design (MOME) in Budapest, Hungary.
Harman embarks on a philosophical journey, posing questions such as "What is an object?" (P12) and further discussing concepts like "object-oriented democracy" (P22) and "object-oriented politics," framing his discourse through a philosophical lens.
To Harman, philosophy is not a kind of knowledge. Philosophy is something more than and less than knowledge (P16). Philosophy could transcend mere knowledge. His perspective resonates with my understanding of design: Is design merely knowledge? Or is it a medium of self-expression and communication, shaped by personal experiences? Or we can comprehend that design is a reflection and projection of our observation capability in work and life?
Harman's assertion that everything is intrinsically relational, political, and cultural makes me think that when designing products, services, and experiences for or with people in various contexts to solve different layers of challenges, we might need to think about the visible objects, interactions, and user experiences in the background as well as consider the conditions and constraints in the foreground (P58) to gain much more comprehensive insights to from the contextual information.
I read this pocket-size book: Artful Objects: Graham Harman on Art and the Business of Speculative Realism By Graham Harman, while working on a research project over the winter break collaborating with the Innovation Center Social Design Hub at the Moholy-Nagy University of Art and Design (MOME) in Budapest, Hungary.
Harman embarks on a philosophical journey, posing questions such as "What is an object?" (P12) and further discussing concepts like "object-oriented democracy" (P22) and "object-oriented politics," framing his discourse through a philosophical lens.
To Harman, philosophy is not a kind of knowledge. Philosophy is something more than and less than knowledge (P16). Philosophy could transcend mere knowledge. His perspective resonates with my understanding of design: Is design merely knowledge? Or is it a medium of self-expression and communication, shaped by personal experiences? Or we can comprehend that design is a reflection and projection of our observation capability in work and life?
Harman's assertion that everything is intrinsically relational, political, and cultural makes me think that when designing products, services, and experiences for or with people in various contexts to solve different layers of challenges, we might need to think about the visible objects, interactions, and user experiences in the background as well as consider the conditions and constraints in the foreground (P58) to gain much more comprehensive insights to from the contextual information.
Lifelong Kindergarten: Cultivating Creativity through Projects, Passion, Peers, and Play
February 11, 2024
In preparation for the upcoming spring graduate course at MIT Media Lab, "Learning Creative Learning (MAS.712)," I read the book "Lifelong Kindergarten: Cultivating Creativity through Projects, Passion, Peers, and Play" by Mitchel Resnick. The book resonated deeply with me, particularly Resnick's mentioned that "Passion is the fuel that drives the immersive-reflection cycle" (P71). His dedication to learning and education, coupled with compelling case studies and educational learning tools like Scratch—an accessible programming language enabling the creation of interactive stories, animations, and games—inspired me profoundly.
Resnick's insights provided me with a fresh perspective as I reflected on challenges within the realm of design education and creative tools we applied as designers. His emphasis on fostering a knowledge society (P157) and cultivating creativity stirred my contemplation on how to apply his principles to promote innovation and creativity within our society.
Planners versus tinkers
Individuals with a planner personality tend to approach tasks with a methodical, top-to-bottom organization, while tinkers adopt a more bottom-to-top problem-solving approach. A well-rounded team should ideally comprise individuals with both planner and tinker personalities, as effectively addressing design challenges often demands the integration of both processes.
As highlighted by the statement in the book, "Creative thinking grows out of creative tinkering" (P139), there is value in making space for exploration and experimentation. While it's crucial to plan processes, manage expectations, and scope projects right, it's equally important to meander around through complexities by onsite observing, identifying patterns, and drawing insights from analogous examples and inspiration. Thus, a balanced approach that combines structured planning with flexible exploration is essential for innovative problem-solving.
A growth mindset versus a fixed mindset
Psychologist Carol Dweck introduced the concept of a "growth mindset" (P148), which suggests that individuals have the capacity to continually learn, develop, and adapt their knowledge, mindset, perceptions, and actions through dedication and perseverance. The notion of "growth" personally resonates with me as a designer, signifying the need for ongoing transformation in terms of designers’ skillsets, mindsets, and behaviors to navigate complex challenges effectively.
Embracing a growth mindset is crucial, but it's equally important to actively invest in and nurture our personal growth as human as a whole. This can empower us when we get stuck in the context of problems, we can still stick with it and be optimistic (P166).
Low floors, high ceilings, and wide walls
Seymour Papert used the metaphorical term "low floors" to describe the importance of accessibility in learning or developing creative tools for users (P64). Additionally, he introduced the concept of "high ceilings" to highlight the capacity of design tools to address complex and challenging tasks. Building upon these principles, Resnick introduced the notion of "wide walls," emphasizing the diversity of potential approaches to problem-solving and the myriad paths to creating design solutions and ideas.
Papert and Resnick's guiding principles are made tangible and visible, as Resnick stresses in the book, "make learning visible" (P159), enabling explicit explanation of these fundamental concepts to others and facilitating the scalability of their social influence and positive impact.
Playpen versus playground
Drawing inspiration from the metaphors of the playpen and the playground found in the book (P130), the playpen symbolizes a confined space for considering design problems, while the playground represents a broader context for understanding unforeseen challenges. However, I think that social-technological design challenges, including climate change, aging, sustainability, digital transformation, and organizational change, most are intricate, systemic, and complex in nature.
These complex or wicked problems often manifest as merely the tip of the iceberg, with underlying complexities extending into various interconnected systems and subsystems, including organizational cultures, global politics, and social infrastructures. This distinction between the playpen and the playground echoes the concept of "hard fun" (P70) proposed by Papert. It underscores the need to move beyond following well-established rules and rituals, instead embracing experimentation and pushing boundaries of creativities. Rather than merely "thinking outside the box," we must strive to "build the new box" to address these obstacles effectively.
In preparation for the upcoming spring graduate course at MIT Media Lab, "Learning Creative Learning (MAS.712)," I read the book "Lifelong Kindergarten: Cultivating Creativity through Projects, Passion, Peers, and Play" by Mitchel Resnick. The book resonated deeply with me, particularly Resnick's mentioned that "Passion is the fuel that drives the immersive-reflection cycle" (P71). His dedication to learning and education, coupled with compelling case studies and educational learning tools like Scratch—an accessible programming language enabling the creation of interactive stories, animations, and games—inspired me profoundly.
Resnick's insights provided me with a fresh perspective as I reflected on challenges within the realm of design education and creative tools we applied as designers. His emphasis on fostering a knowledge society (P157) and cultivating creativity stirred my contemplation on how to apply his principles to promote innovation and creativity within our society.
Planners versus tinkers
Individuals with a planner personality tend to approach tasks with a methodical, top-to-bottom organization, while tinkers adopt a more bottom-to-top problem-solving approach. A well-rounded team should ideally comprise individuals with both planner and tinker personalities, as effectively addressing design challenges often demands the integration of both processes.
As highlighted by the statement in the book, "Creative thinking grows out of creative tinkering" (P139), there is value in making space for exploration and experimentation. While it's crucial to plan processes, manage expectations, and scope projects right, it's equally important to meander around through complexities by onsite observing, identifying patterns, and drawing insights from analogous examples and inspiration. Thus, a balanced approach that combines structured planning with flexible exploration is essential for innovative problem-solving.
A growth mindset versus a fixed mindset
Psychologist Carol Dweck introduced the concept of a "growth mindset" (P148), which suggests that individuals have the capacity to continually learn, develop, and adapt their knowledge, mindset, perceptions, and actions through dedication and perseverance. The notion of "growth" personally resonates with me as a designer, signifying the need for ongoing transformation in terms of designers’ skillsets, mindsets, and behaviors to navigate complex challenges effectively.
Embracing a growth mindset is crucial, but it's equally important to actively invest in and nurture our personal growth as human as a whole. This can empower us when we get stuck in the context of problems, we can still stick with it and be optimistic (P166).
Low floors, high ceilings, and wide walls
Seymour Papert used the metaphorical term "low floors" to describe the importance of accessibility in learning or developing creative tools for users (P64). Additionally, he introduced the concept of "high ceilings" to highlight the capacity of design tools to address complex and challenging tasks. Building upon these principles, Resnick introduced the notion of "wide walls," emphasizing the diversity of potential approaches to problem-solving and the myriad paths to creating design solutions and ideas.
Papert and Resnick's guiding principles are made tangible and visible, as Resnick stresses in the book, "make learning visible" (P159), enabling explicit explanation of these fundamental concepts to others and facilitating the scalability of their social influence and positive impact.
Playpen versus playground
Drawing inspiration from the metaphors of the playpen and the playground found in the book (P130), the playpen symbolizes a confined space for considering design problems, while the playground represents a broader context for understanding unforeseen challenges. However, I think that social-technological design challenges, including climate change, aging, sustainability, digital transformation, and organizational change, most are intricate, systemic, and complex in nature.
These complex or wicked problems often manifest as merely the tip of the iceberg, with underlying complexities extending into various interconnected systems and subsystems, including organizational cultures, global politics, and social infrastructures. This distinction between the playpen and the playground echoes the concept of "hard fun" (P70) proposed by Papert. It underscores the need to move beyond following well-established rules and rituals, instead embracing experimentation and pushing boundaries of creativities. Rather than merely "thinking outside the box," we must strive to "build the new box" to address these obstacles effectively.
The Language of Things: Understanding the World of Desirable Objects
January 25, 2024
While traveling in Europe, I enjoyed reading "The Language of Things: Understanding the World of Desirable Objects" by Deyan Sudjic, the former Director of the Design Museum in London, published by the Penguin Press.
As an industrial designer and electrical engineer by training, I find the interplay between design intent and form fascinating, as it transforms purpose into tangible beauty: form (P192). Particularly at the present, when our connection with our possessions with objects is undergoing a radical transformation (P216).
Sudjic poetically mentioned that tangible objects exist within a complex choreography of interaction (P54), playing a significant role in measuring the passage of our lives. He emphasizes that these artifacts are not just utilitarian or forms; they define and signal our identity: who we are, and who we are not (P21). While many consider tangible objects as unarguable facts and physical traces of daily life (P6), this might challenge the traditional perception by intertwining ideology with design problem-solving (P216).
Sudjic's perspective on design is thoughtfully inspiring. He considers design as a language that extends beyond mere visuals. The design employs color and shape not only for playfulness or functionality but also as reflections of our economic systems and services (P89). Design, according to Sudjic, metaphorically serves as the DNA of a society, whether industrial or post-industrial (P49). It acts as a language through which a society communicates its values and purpose by creating objects that embody these principles (P50). Moreover, design is used to shape individuals' perceptions of how to understand tangible artifacts (P51).
While traveling in Europe, I enjoyed reading "The Language of Things: Understanding the World of Desirable Objects" by Deyan Sudjic, the former Director of the Design Museum in London, published by the Penguin Press.
As an industrial designer and electrical engineer by training, I find the interplay between design intent and form fascinating, as it transforms purpose into tangible beauty: form (P192). Particularly at the present, when our connection with our possessions with objects is undergoing a radical transformation (P216).
Sudjic poetically mentioned that tangible objects exist within a complex choreography of interaction (P54), playing a significant role in measuring the passage of our lives. He emphasizes that these artifacts are not just utilitarian or forms; they define and signal our identity: who we are, and who we are not (P21). While many consider tangible objects as unarguable facts and physical traces of daily life (P6), this might challenge the traditional perception by intertwining ideology with design problem-solving (P216).
Sudjic's perspective on design is thoughtfully inspiring. He considers design as a language that extends beyond mere visuals. The design employs color and shape not only for playfulness or functionality but also as reflections of our economic systems and services (P89). Design, according to Sudjic, metaphorically serves as the DNA of a society, whether industrial or post-industrial (P49). It acts as a language through which a society communicates its values and purpose by creating objects that embody these principles (P50). Moreover, design is used to shape individuals' perceptions of how to understand tangible artifacts (P51).
Writing Ethnographic Fieldnotes
January 15, 2024
I have a deep fascination with ethnographic research. Ethnography serves as an invaluable approach for understanding and describing social worlds, drawing from the rich theories of symbolic interaction and ethnomethodology (P2). The primary objective of an ethnographer is not to uncover a single "truth" or provide a definitive solution, but rather to unveil the myriad truths and possibilities that exist within others' lives.
Ethnography research wields a profound influence over design research. While I initially honed my design research skills during my industry experience at IDEO and Design Continuum, I consider myself fortunate to continually learn, relearn, and unlearn design research through the lens of ethnography. One influential resource that came my way was the book "Writing Ethnographic Fieldnotes" publised by University of Chicago Press, which Professor Graham M. Jones of Massachusetts Institute of Technology (MIT) Department of Anthropology recommended during his graduate course, 21A.819 Ethnographic Research Methods.
Ethnographers place significant emphasis on writing as their core craft. For instance, fieldnotes serve as a powerful tool, offering nuanced and multi-layered insights into the lives, routines, and meanings of the people being studied (P17). As Geertz (1973) noted, the essence of ethnographic "thick description" lies in the detailed portrayal of "inscription."
One particular aspect I enjoy is Chapter Six, which delves into the art of coding. This chapter explores both open coding (P175) and focused coding (P191). I am fascinated by the open coding part, which resonates with the divergent phase of the design process.
Researchers engage in the intricate task of identifying codes, discerning patterns, clustering groups and sub-groups, and synthesizing their learnings and results. This qualitative, evidence-driven approach demands considerable time, effort, and researchers’ expertise and experiences.
Moreover, learning how to code collectively by applying computer-assisted qualitative data analysis software (CAQDAS) is critical. This becomes even more critical now, given the enhanced capabilities of AI-powered coding functions, which have rendered these resources indispensable.
I brought the book with me to Budapest, a city I believe will spark the creative interest of design researchers and ethnographers.
I have a deep fascination with ethnographic research. Ethnography serves as an invaluable approach for understanding and describing social worlds, drawing from the rich theories of symbolic interaction and ethnomethodology (P2). The primary objective of an ethnographer is not to uncover a single "truth" or provide a definitive solution, but rather to unveil the myriad truths and possibilities that exist within others' lives.
Ethnography research wields a profound influence over design research. While I initially honed my design research skills during my industry experience at IDEO and Design Continuum, I consider myself fortunate to continually learn, relearn, and unlearn design research through the lens of ethnography. One influential resource that came my way was the book "Writing Ethnographic Fieldnotes" publised by University of Chicago Press, which Professor Graham M. Jones of Massachusetts Institute of Technology (MIT) Department of Anthropology recommended during his graduate course, 21A.819 Ethnographic Research Methods.
Ethnographers place significant emphasis on writing as their core craft. For instance, fieldnotes serve as a powerful tool, offering nuanced and multi-layered insights into the lives, routines, and meanings of the people being studied (P17). As Geertz (1973) noted, the essence of ethnographic "thick description" lies in the detailed portrayal of "inscription."
One particular aspect I enjoy is Chapter Six, which delves into the art of coding. This chapter explores both open coding (P175) and focused coding (P191). I am fascinated by the open coding part, which resonates with the divergent phase of the design process.
Researchers engage in the intricate task of identifying codes, discerning patterns, clustering groups and sub-groups, and synthesizing their learnings and results. This qualitative, evidence-driven approach demands considerable time, effort, and researchers’ expertise and experiences.
Moreover, learning how to code collectively by applying computer-assisted qualitative data analysis software (CAQDAS) is critical. This becomes even more critical now, given the enhanced capabilities of AI-powered coding functions, which have rendered these resources indispensable.
I brought the book with me to Budapest, a city I believe will spark the creative interest of design researchers and ethnographers.
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