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User Friendly: How the Hidden Rules of Design Are Changing the Way We Live, Work, and Play
January 9, 2025
I sat at Tatte Coffee Shop in Kendall Square, facing the floor-to-ceiling glass window overlooking the road. As I reflected on my next big leap, I jotted down thoughts inspired by User Friendly: How the Hidden Rules of Design Are Changing the Way We Live, Work, and Play by Cliff Kuang and Robert Fabricant (published by MCD), a book that has lingered on my small but ever-changing bookshelf for some time.
Unsurprisingly, the concept of design thinking is often invoked to address problems of every scale (P24). I prefer the term “design process,” as it acknowledges the interplay between design thinking and design making—both essential and complementary aspects of design. At its core, design assumes that we can craft objects, services, experiences, and systems that are more humane. Achieving this requires adopting a new way of seeing our world (P46). For instance, after the infamous Three Mile Island nuclear accident in 1978, interviews with Don Norman revealed a critical insight: “We were building technology for people, but some technologies didn’t understand people” (P25). This realization spurred Norman to research and advocate for design approaches centered on human factors, human-machine interactions, and cognitive psychology (P95).
Kuang and Fabricant interpreted user-friendliness as the alignment between the objects in our world and our behaviors (P96). In Fabricant’s 2009 presentation Behavior Is Our Medium, he noted that the essential material for innovation isn’t aluminum or carbon fiber but the behavior itself (P96). Our behaviors are deeply influenced by our physical, mental, and metaphorical space. Metaphors, often embedded in our daily experiences, shape our understanding of the world. Phrases like “time is money,” “life is a journey,” or “the body is a machine” illustrate how metaphors structure our environment. Many of these metaphors have been intentionally designed (P135). For example, the metaphor of horse riding could inspire a new paradigm for driving (P144). In creating new technologies, we climb a ladder of metaphors, each rung helping us ascend to the next breakthrough (P147). This transformative power enables metaphors to carry ideas from specialized domains into broader social contexts (P134).
To grasp the essence of the book, I recommend starting with the Afterword (P301), which offers a compelling overview of its themes. Then, explore the appendix (P331) for a brief history of user-friendly design. My favorite chapters delve into metaphor (P129), empathy (P161), and humanity (P187). These sections encouraged me to reflect on the hidden rules of design and how they manifest in my everyday life.
I sat at Tatte Coffee Shop in Kendall Square, facing the floor-to-ceiling glass window overlooking the road. As I reflected on my next big leap, I jotted down thoughts inspired by User Friendly: How the Hidden Rules of Design Are Changing the Way We Live, Work, and Play by Cliff Kuang and Robert Fabricant (published by MCD), a book that has lingered on my small but ever-changing bookshelf for some time.
Unsurprisingly, the concept of design thinking is often invoked to address problems of every scale (P24). I prefer the term “design process,” as it acknowledges the interplay between design thinking and design making—both essential and complementary aspects of design. At its core, design assumes that we can craft objects, services, experiences, and systems that are more humane. Achieving this requires adopting a new way of seeing our world (P46). For instance, after the infamous Three Mile Island nuclear accident in 1978, interviews with Don Norman revealed a critical insight: “We were building technology for people, but some technologies didn’t understand people” (P25). This realization spurred Norman to research and advocate for design approaches centered on human factors, human-machine interactions, and cognitive psychology (P95).
Kuang and Fabricant interpreted user-friendliness as the alignment between the objects in our world and our behaviors (P96). In Fabricant’s 2009 presentation Behavior Is Our Medium, he noted that the essential material for innovation isn’t aluminum or carbon fiber but the behavior itself (P96). Our behaviors are deeply influenced by our physical, mental, and metaphorical space. Metaphors, often embedded in our daily experiences, shape our understanding of the world. Phrases like “time is money,” “life is a journey,” or “the body is a machine” illustrate how metaphors structure our environment. Many of these metaphors have been intentionally designed (P135). For example, the metaphor of horse riding could inspire a new paradigm for driving (P144). In creating new technologies, we climb a ladder of metaphors, each rung helping us ascend to the next breakthrough (P147). This transformative power enables metaphors to carry ideas from specialized domains into broader social contexts (P134).
To grasp the essence of the book, I recommend starting with the Afterword (P301), which offers a compelling overview of its themes. Then, explore the appendix (P331) for a brief history of user-friendly design. My favorite chapters delve into metaphor (P129), empathy (P161), and humanity (P187). These sections encouraged me to reflect on the hidden rules of design and how they manifest in my everyday life.
Modern Educational Dance
December 29, 2024
In 2023 summer, while giving a speech and exhibition at Venice Innovation Design (VID), I stumbled upon Modern Educational Dance by Rudolf von Laban, the renowned Austro-Hungarian dance artist and choreographer, at a second-hand bookstore in Venice. I was immediately drawn to it and decided to delve into it over Christmas, juggling dissertation drafting and journal paper revisions.
Laban’s innovative approach to translating body movement into text and his space-orientation framework (P35, 37) captivated me. His exploration of 16 basic movement themes, the rudiments of free dance technique, and the concept of the “sphere of movement” across ages sparked new design perspectives for me. Although I am not an expert in modern dance, I was fascinated by how Laban’s elegant calligraphy and notations resonated with the creative process. His work extended beyond stage performances to encompass social dancing and everyday behaviors, revealing how conscious or unconscious movement embodies aspects of the art of meaningful expression (P9).
Laban asserted that movement is essential to life (P133), describing it as a cultivated sensibility (P134) and a form of human expression (P10). He wrote that dance allows individuals to create, express, and interpret rhythms and forms (P109), echoing his insightful remark: “Movement is the essence of life, and all expression, whether it be speaking, writing, singing, painting, or dancing, uses movement as a vehicle, we can not help seeing the importance of understanding this outward expression of the living energy within, and this we can do through effort study (P101).”
Through the movement of our bodies, we can connect our inner selves to the outer world (P109), a sentiment that aligns closely with the design of embodied experiences. As designers, much like dancers, we immerse ourselves entirely in the material of movement, exploring its possibilities and challenges (P117).
This book has created an intriguing synergy with my thoughts on design. Design, like movement, is dynamic, a dance of momentum between creators and users. Design is also fluid, like water, capable of penetrating potential possibilities.
Highlighting passages with my pink highlighter felt like marking moments of inspiration—a new movement within me sparked by Laban’s insights.
In 2023 summer, while giving a speech and exhibition at Venice Innovation Design (VID), I stumbled upon Modern Educational Dance by Rudolf von Laban, the renowned Austro-Hungarian dance artist and choreographer, at a second-hand bookstore in Venice. I was immediately drawn to it and decided to delve into it over Christmas, juggling dissertation drafting and journal paper revisions.
Laban’s innovative approach to translating body movement into text and his space-orientation framework (P35, 37) captivated me. His exploration of 16 basic movement themes, the rudiments of free dance technique, and the concept of the “sphere of movement” across ages sparked new design perspectives for me. Although I am not an expert in modern dance, I was fascinated by how Laban’s elegant calligraphy and notations resonated with the creative process. His work extended beyond stage performances to encompass social dancing and everyday behaviors, revealing how conscious or unconscious movement embodies aspects of the art of meaningful expression (P9).
Laban asserted that movement is essential to life (P133), describing it as a cultivated sensibility (P134) and a form of human expression (P10). He wrote that dance allows individuals to create, express, and interpret rhythms and forms (P109), echoing his insightful remark: “Movement is the essence of life, and all expression, whether it be speaking, writing, singing, painting, or dancing, uses movement as a vehicle, we can not help seeing the importance of understanding this outward expression of the living energy within, and this we can do through effort study (P101).”
Through the movement of our bodies, we can connect our inner selves to the outer world (P109), a sentiment that aligns closely with the design of embodied experiences. As designers, much like dancers, we immerse ourselves entirely in the material of movement, exploring its possibilities and challenges (P117).
This book has created an intriguing synergy with my thoughts on design. Design, like movement, is dynamic, a dance of momentum between creators and users. Design is also fluid, like water, capable of penetrating potential possibilities.
Highlighting passages with my pink highlighter felt like marking moments of inspiration—a new movement within me sparked by Laban’s insights.
Linda Rampell: The Shopmodern Condition
December 23, 2024
The Shopmodern Condition by Linda Rampell (published by Art And Theory Publishing) is a thought-provoking and visually striking book featuring a beautifully designed cover that immediately caught my attention. I purchased it earlier this year at ISBN+, a contemporary art center and bookshop in Budapest, Hungary. As the Christmas and New Year holidays approach, I’ve managed to carve out some in-between work time to dive into its pages.
Interestingly, I started reading the book from the middle, bypassing the suggested sequence. From the outset, it became clear that this book was not easy to grasp. Reading, in this case, does not necessarily equate to understanding, especially in the context of design consumption. In Rampell’s perspective, consumption is no longer merely about purchasing and using goods. Instead, it represents a more profound phenomenon of being consumed by images, where even personal identities are commodified.
Rampell introduces the concept of “Designdarwinism,” describing it as a life-and-death struggle for self-improvement in an image-dominated culture. The history of design is inseparable from the history of capitalism. She presented a critical exploration of contemporary design capitalism. Since design is inherently created to be sold, any critique of consumption by designers themselves inevitably carries an element of irony.
Rampell writes, “A life without capitalism is a life without design and designers (P248).” She provocatively asks, “How can we induce a person to buy our goods without feeling forced into purchasing (P237)?” Design constructs a context for a product or service before it even exists (P207). Design is neither an object, like a chair, nor a behavior, such as sitting, but a capitalistic process that shapes our thinking. “The aim is not to produce design but to use design as a means for reproducing money; design is a capitalistic prosthesis” (P171), she declares.
The design inherently involves subtraction as much as an addition. “Design always involves designing away something and someone else. Though generally considered an addition, design is a subtraction: removing the undesigned (P232).” This subtractive nature makes design a powerful tool for “social engineering.” From what she terms an “aesthetonomical” perspective, design serves as a mechanism for socializing and assimilating the plural into a homogenous identity, essentially reshaping the other into the same (P233).
Rampell’s insights critique design's role in perpetuating capitalist structures, making The Shopmodern Condition an intellectually challenging yet deeply rewarding read.
The Shopmodern Condition by Linda Rampell (published by Art And Theory Publishing) is a thought-provoking and visually striking book featuring a beautifully designed cover that immediately caught my attention. I purchased it earlier this year at ISBN+, a contemporary art center and bookshop in Budapest, Hungary. As the Christmas and New Year holidays approach, I’ve managed to carve out some in-between work time to dive into its pages.
Interestingly, I started reading the book from the middle, bypassing the suggested sequence. From the outset, it became clear that this book was not easy to grasp. Reading, in this case, does not necessarily equate to understanding, especially in the context of design consumption. In Rampell’s perspective, consumption is no longer merely about purchasing and using goods. Instead, it represents a more profound phenomenon of being consumed by images, where even personal identities are commodified.
Rampell introduces the concept of “Designdarwinism,” describing it as a life-and-death struggle for self-improvement in an image-dominated culture. The history of design is inseparable from the history of capitalism. She presented a critical exploration of contemporary design capitalism. Since design is inherently created to be sold, any critique of consumption by designers themselves inevitably carries an element of irony.
Rampell writes, “A life without capitalism is a life without design and designers (P248).” She provocatively asks, “How can we induce a person to buy our goods without feeling forced into purchasing (P237)?” Design constructs a context for a product or service before it even exists (P207). Design is neither an object, like a chair, nor a behavior, such as sitting, but a capitalistic process that shapes our thinking. “The aim is not to produce design but to use design as a means for reproducing money; design is a capitalistic prosthesis” (P171), she declares.
The design inherently involves subtraction as much as an addition. “Design always involves designing away something and someone else. Though generally considered an addition, design is a subtraction: removing the undesigned (P232).” This subtractive nature makes design a powerful tool for “social engineering.” From what she terms an “aesthetonomical” perspective, design serves as a mechanism for socializing and assimilating the plural into a homogenous identity, essentially reshaping the other into the same (P233).
Rampell’s insights critique design's role in perpetuating capitalist structures, making The Shopmodern Condition an intellectually challenging yet deeply rewarding read.
Belonging & Belongings
December 18, 2024
On my flight back from Minneapolis to Boston, I spent three hours engrossed in Belonging & Belongings by Geke Van Dijk, Bas Raijmakers, and Daijiro Mizuno. Despite being published in 2014, the book remains highly relevant to design research, design ethnography, and video ethnography. Its thought-provoking approach and research topics still resonate deeply with contemporary practices.
Jean Rouch (2009) pioneered a method of using film in ethnography, bridging cinema and anthropology. This approach aligns with Stoller’s (1992) argument that film is not merely a tool for data collection but an “arena” of inquiry (P65). The book emphasizes contextual inquiry, inspiring curiosity and passion about how people are seen and how they see others (P77). Through keen observation, visual materials in ethnographic studies provide valuable insights into everyday practices (P174). These materials offer a dual benefit: they represent contemporary phenomena while serving as a timeless reference and inspiration for design (P 174).
Design ethnography encompasses a wide range of human behaviors and experiences. For example, technology can be viewed as a cultural practice, with technological objects acting as expressions of identity (P49). Devices like Sony’s Walkman and Apple’s iPod have embodied individuals’ identities, tastes, and social status, reflecting the cultural context of their respective eras. Jan Chipchase, Founder and Director of Studio D and former Executive Creative Director of Global Insights at Frog, highlighted this intersection in his 2007 TED talk, The Anthropology of Mobile Phones. He observed, “If you ask people what the three most important things they carry are… across cultures, gender, and contexts, most people will say keys, money, and if they own one, a mobile phone” (P93).
The book also explores how people define their “superselves” — whether they align with their authentic selves, online identities, or somewhere in between (P181). It raises questions about how much control we have over our online personas and how accurately they reflect who we truly are (P163). The enduring value of design ethnography lies in its focus on humanity—our everyday needs and the intricate relationships between individuals, systems, and societal structures. As the book notes, this makes its insights timeless, speaking to universal aspects of the human experience (P92).
On my flight back from Minneapolis to Boston, I spent three hours engrossed in Belonging & Belongings by Geke Van Dijk, Bas Raijmakers, and Daijiro Mizuno. Despite being published in 2014, the book remains highly relevant to design research, design ethnography, and video ethnography. Its thought-provoking approach and research topics still resonate deeply with contemporary practices.
Jean Rouch (2009) pioneered a method of using film in ethnography, bridging cinema and anthropology. This approach aligns with Stoller’s (1992) argument that film is not merely a tool for data collection but an “arena” of inquiry (P65). The book emphasizes contextual inquiry, inspiring curiosity and passion about how people are seen and how they see others (P77). Through keen observation, visual materials in ethnographic studies provide valuable insights into everyday practices (P174). These materials offer a dual benefit: they represent contemporary phenomena while serving as a timeless reference and inspiration for design (P 174).
Design ethnography encompasses a wide range of human behaviors and experiences. For example, technology can be viewed as a cultural practice, with technological objects acting as expressions of identity (P49). Devices like Sony’s Walkman and Apple’s iPod have embodied individuals’ identities, tastes, and social status, reflecting the cultural context of their respective eras. Jan Chipchase, Founder and Director of Studio D and former Executive Creative Director of Global Insights at Frog, highlighted this intersection in his 2007 TED talk, The Anthropology of Mobile Phones. He observed, “If you ask people what the three most important things they carry are… across cultures, gender, and contexts, most people will say keys, money, and if they own one, a mobile phone” (P93).
The book also explores how people define their “superselves” — whether they align with their authentic selves, online identities, or somewhere in between (P181). It raises questions about how much control we have over our online personas and how accurately they reflect who we truly are (P163). The enduring value of design ethnography lies in its focus on humanity—our everyday needs and the intricate relationships between individuals, systems, and societal structures. As the book notes, this makes its insights timeless, speaking to universal aspects of the human experience (P92).
Viewfinders: Thoughts on Visual Design Research
December 14, 2024
Oops, there was another job rejection after the first round of interviews. It did dampen my mood over the weekend, but it didn’t deter me from my weekly passions: reading and reflecting on design.
Lately, I’ve been diving into the work of Dr. Bas Raijmakers, particularly his doctoral dissertation on Design Documentaries at the Royal College of Art (RCA) in June 2007. He explored documentary film as a performative exchange between the people in the film, the filmmakers, and the spectators (P39). A film, he suggested, becomes a reality, a language, and a conversation (P36). It serves as a tool for translation, utilizing formal qualities such as image framing and editing techniques, though these are often underutilized (P36).
I also discovered and thoroughly enjoyed his book, Viewfinders: Thoughts on Visual Design Research (published by STBY Ltd. in 2016). The concept of “viewfinders” itself offers a fascinating lens on how visual material can be captured, analyzed, synthesized, presented, and revisited throughout the creative process (P86). It provides an alternative way to translate and reinterpret cross-cultural and cross-generational diversity (P49).
One idea I found particularly interesting is the notion of multiple meanings (P58). Dr. Raijmakers emphasized that an image never has “one true meaning.” The same image may carry varied (and even conflicting) interpretations at different stages of ethnographic research and representation. Ambiguity, he argues, is a resource for design inspiration. Often, design spaces emerge when our perspectives oscillate between the facts captured by the lens, and the imagination sparked in our minds (P15).
Visual ethnography studies social organization and culture in everyday life through photography, video, or film (P58). In this context, the design researcher takes on the role of a photographer (P49). Video, as a participatory design material, has much to learn from the traditions of documentary filmmaking. Dr. Raijmakers beautifully encapsulates this idea with the phrase: “Eyes like a shutter, mind like a lens.”
Oops, there was another job rejection after the first round of interviews. It did dampen my mood over the weekend, but it didn’t deter me from my weekly passions: reading and reflecting on design.
Lately, I’ve been diving into the work of Dr. Bas Raijmakers, particularly his doctoral dissertation on Design Documentaries at the Royal College of Art (RCA) in June 2007. He explored documentary film as a performative exchange between the people in the film, the filmmakers, and the spectators (P39). A film, he suggested, becomes a reality, a language, and a conversation (P36). It serves as a tool for translation, utilizing formal qualities such as image framing and editing techniques, though these are often underutilized (P36).
I also discovered and thoroughly enjoyed his book, Viewfinders: Thoughts on Visual Design Research (published by STBY Ltd. in 2016). The concept of “viewfinders” itself offers a fascinating lens on how visual material can be captured, analyzed, synthesized, presented, and revisited throughout the creative process (P86). It provides an alternative way to translate and reinterpret cross-cultural and cross-generational diversity (P49).
One idea I found particularly interesting is the notion of multiple meanings (P58). Dr. Raijmakers emphasized that an image never has “one true meaning.” The same image may carry varied (and even conflicting) interpretations at different stages of ethnographic research and representation. Ambiguity, he argues, is a resource for design inspiration. Often, design spaces emerge when our perspectives oscillate between the facts captured by the lens, and the imagination sparked in our minds (P15).
Visual ethnography studies social organization and culture in everyday life through photography, video, or film (P58). In this context, the design researcher takes on the role of a photographer (P49). Video, as a participatory design material, has much to learn from the traditions of documentary filmmaking. Dr. Raijmakers beautifully encapsulates this idea with the phrase: “Eyes like a shutter, mind like a lens.”
Superstorm: Politics and Design in the Age of Information
The holiday season has been a whirlwind, as usual. Amidst the chaos, I managed to carve out a quiet moment at the library to delve into Noemi Biasetton’s Superstorm: Politics and Design in the Age of Information, published by Onomatopee. This work offers a fascinating exploration of the intersection of political communication, visuals, and media design.
Through her lens, she interprets design as a contextual practice that challenges conventional approaches to political issues, a perspective she articulates with remarkable clarity (P98). Her insights offer a rich framework for understanding the role of design in shaping political discourse, including design with politics, design about politics, and design of politics.
Today’s media landscape shifts from traditional media’s vertical information transmission model to new media’s horizontal approach (P93). In this horizontal model, diverse locations and rich cultures gain attention, and governance and organizational structures increasingly rely on collective intelligence to navigate complex socioeconomic challenges. These transformations reflect an evolving participatory dynamic in political communication.
If we trace the historical roots of this shift to a series of technological, social, and cultural changes beginning in the 1960s. These changes redefined the imagery and mediums of political communication (P35). Objects, visuals, and media have become embedded with political meanings tailored to various purposes and needs.
A compelling argument in the book focuses on the democratization of technology. She highlights how the objective of making technology more accessible has transformed it from a “tool of oppression” into a “liberation tool” (P49). This shift has driven innovation in citizen-centered, participatory approaches to political communication, decentralized design processes, and disintermediated forms of engagement. Technologies now empower individuals to form “imagined communities,” enabling geographically dispersed people to transcend time and distance to create virtual communities of shared purpose (P182).
The future is not a blank canvas awaiting human creativity (P99). Instead, the future is often preconditioned by ideas inherited from the past, shaped to fulfill present desires while frequently neglecting long-term strategies (P100). This perspective serves as a poignant reminder of the need for mindful, forward-thinking design in addressing contemporary political and social challenges.
Through her lens, she interprets design as a contextual practice that challenges conventional approaches to political issues, a perspective she articulates with remarkable clarity (P98). Her insights offer a rich framework for understanding the role of design in shaping political discourse, including design with politics, design about politics, and design of politics.
Today’s media landscape shifts from traditional media’s vertical information transmission model to new media’s horizontal approach (P93). In this horizontal model, diverse locations and rich cultures gain attention, and governance and organizational structures increasingly rely on collective intelligence to navigate complex socioeconomic challenges. These transformations reflect an evolving participatory dynamic in political communication.
If we trace the historical roots of this shift to a series of technological, social, and cultural changes beginning in the 1960s. These changes redefined the imagery and mediums of political communication (P35). Objects, visuals, and media have become embedded with political meanings tailored to various purposes and needs.
A compelling argument in the book focuses on the democratization of technology. She highlights how the objective of making technology more accessible has transformed it from a “tool of oppression” into a “liberation tool” (P49). This shift has driven innovation in citizen-centered, participatory approaches to political communication, decentralized design processes, and disintermediated forms of engagement. Technologies now empower individuals to form “imagined communities,” enabling geographically dispersed people to transcend time and distance to create virtual communities of shared purpose (P182).
The future is not a blank canvas awaiting human creativity (P99). Instead, the future is often preconditioned by ideas inherited from the past, shaped to fulfill present desires while frequently neglecting long-term strategies (P100). This perspective serves as a poignant reminder of the need for mindful, forward-thinking design in addressing contemporary political and social challenges.
Longevity Hubs: Regional Innovation for Global Aging
December 1, 2024
Before celebrating this year's Thanksgiving, I was fortunate to receive a copy of Longevity Hubs: Regional Innovation for Global Aging (published by MIT Press) directly from two authors and mentors, Dr. Joseph F. Coughlin and Luke Yoquinto, at MIT AgeLab. The book delves into a wide range of topics, including aging well, workforce engagement, transportation, innovation, caregiving, finances, research and development, housing, health, and living laboratories.
The concept of a “longevity hub” captivated me as a designer. The authors define it as “any hotspot characterized by a disproportionate level of innovative activity aimed at the older population and related markets.” This notion reminded me of the term “glocal,” a blend of “global” and “local.” Glocal innovation retains a region’s unique characteristics while holding the potential to expand globally. It feels like constructing multiple unique sub-systems to address the complex challenges of longevity-related issues or systems.
Coughlin and Yoquinto emphasize how regional innovation can significantly enhance local quality of life without necessarily scaling solutions for global aging markets. Instead, the focus shifts to cultivating expertise in developing scalable, exportable products and services while prioritizing local quality of life (P276).
Emerging longevity needs encompass not only health and wealth but also social and mental well-being. The UAE’s National Program, launched in 2016, exemplifies this holistic approach by emphasizing happiness and well-being to promote active aging lifestyles (P136).
The demographic transformation brought about by aging populations has enabled regions and countries to adopt innovative policies, social infrastructure, and systems to tackle these challenges (P185). This notion offers opportunities to address, solve, and refine the socio-economic and technological complexities associated with aging.
I was particularly intrigued by the discussion of the tech-enabled distributed economy (P165). For example, Japan has developed a sophisticated sharing economy structured around five categories: goods, space, mobility, skills, and money, preparing the nation to embrace a super-aging society (P167).
Well-known international platforms like Airbnb, Uber, Spacemarket, and Gengo illustrate how sharing services can foster age-friendly innovation and economic activity, breaking away from traditional business models and evolving from linear and circular economics to longevity and sharing economies.
Before celebrating this year's Thanksgiving, I was fortunate to receive a copy of Longevity Hubs: Regional Innovation for Global Aging (published by MIT Press) directly from two authors and mentors, Dr. Joseph F. Coughlin and Luke Yoquinto, at MIT AgeLab. The book delves into a wide range of topics, including aging well, workforce engagement, transportation, innovation, caregiving, finances, research and development, housing, health, and living laboratories.
The concept of a “longevity hub” captivated me as a designer. The authors define it as “any hotspot characterized by a disproportionate level of innovative activity aimed at the older population and related markets.” This notion reminded me of the term “glocal,” a blend of “global” and “local.” Glocal innovation retains a region’s unique characteristics while holding the potential to expand globally. It feels like constructing multiple unique sub-systems to address the complex challenges of longevity-related issues or systems.
Coughlin and Yoquinto emphasize how regional innovation can significantly enhance local quality of life without necessarily scaling solutions for global aging markets. Instead, the focus shifts to cultivating expertise in developing scalable, exportable products and services while prioritizing local quality of life (P276).
Emerging longevity needs encompass not only health and wealth but also social and mental well-being. The UAE’s National Program, launched in 2016, exemplifies this holistic approach by emphasizing happiness and well-being to promote active aging lifestyles (P136).
The demographic transformation brought about by aging populations has enabled regions and countries to adopt innovative policies, social infrastructure, and systems to tackle these challenges (P185). This notion offers opportunities to address, solve, and refine the socio-economic and technological complexities associated with aging.
I was particularly intrigued by the discussion of the tech-enabled distributed economy (P165). For example, Japan has developed a sophisticated sharing economy structured around five categories: goods, space, mobility, skills, and money, preparing the nation to embrace a super-aging society (P167).
Well-known international platforms like Airbnb, Uber, Spacemarket, and Gengo illustrate how sharing services can foster age-friendly innovation and economic activity, breaking away from traditional business models and evolving from linear and circular economics to longevity and sharing economies.
The Impact of a PhD on Design Practice
November 23, 2024
Spending a quiet weekend before the holidays has been a fantastic way to rest and ease into the season. I had the pleasure of diving into Professor Laurene Vaughan’s latest book, The Impact of a PhD on Design Practice (published by Bloomsbury), and finished it within two days—perhaps because I’m at the early stages of my own academic journey, making its insights deeply resonant.
The book weaves together compelling stories and conversations with six designers—Emma Jefferies, Daria Loi, Chris Marmo, Dimeji Onafuwa, Andrea Siodmok, and Reuben Stanton—who pursued their PhDs in design. Their experiences celebrate the transformative journey of undertaking a research degree.
One idea that stood out to me was Professor Vaughan’s explanation of the PhD (P54): “The PhD is the most advanced research-training degree, so it’s about the competencies or the transferable knowledge, the capacity to do critical thinking, to design research studies, develop methods and understand ethics and the implications in projects.” This perspective of “intellectual humanity (P38)” underscores the profound personal growth inherent in the process.
I was particularly inspired by the discussion on “self-leadership” (P149). She eloquently described how research challenges us to discover this quality as scholars and PhD researchers. While the journey can feel lonely, isolating, and challenging, Dimeji highlighted the importance of a vibrant and connected community to support and sustain us through these trials (P64). Emma shared another invaluable insight: recognizing and respecting the evolving nature of our experiences and how we can guide one another by asking questions and understanding these shifts (P36). This resonated with Daria’s sentiment about fostering care and support: "I want to give back the good things that I received when I was a student (P88).”
Daria also offered a compelling perspective on identity, acknowledging that she doesn’t see herself as entirely aligned with either industry or academia, reflecting a balance many of us strive for (P89). This idea connects to what Professor Vaughan calls the “doctoral moment”—the point when we realize, “I know what I don’t know, and I know how I could realize it” (P55). It’s a sentiment that resonates beyond academia and applies to the challenges of work and life where we act as our own bosses, project managers, or principal investigators (PI), taking full responsibility for our decisions and actions.
By the end of the book, she provided a treasure trove of suggested readings (P165), organized into four categories: design leadership, doctoral education, creative practice and research, and design knowledge/expertise. This curated list is invaluable for anyone navigating the intersection of design and research. The book left me inspired and reflective, offering insights into the design academic journey and the broader challenges of leadership, self-discovery, and intellectual growth.
Spending a quiet weekend before the holidays has been a fantastic way to rest and ease into the season. I had the pleasure of diving into Professor Laurene Vaughan’s latest book, The Impact of a PhD on Design Practice (published by Bloomsbury), and finished it within two days—perhaps because I’m at the early stages of my own academic journey, making its insights deeply resonant.
The book weaves together compelling stories and conversations with six designers—Emma Jefferies, Daria Loi, Chris Marmo, Dimeji Onafuwa, Andrea Siodmok, and Reuben Stanton—who pursued their PhDs in design. Their experiences celebrate the transformative journey of undertaking a research degree.
One idea that stood out to me was Professor Vaughan’s explanation of the PhD (P54): “The PhD is the most advanced research-training degree, so it’s about the competencies or the transferable knowledge, the capacity to do critical thinking, to design research studies, develop methods and understand ethics and the implications in projects.” This perspective of “intellectual humanity (P38)” underscores the profound personal growth inherent in the process.
I was particularly inspired by the discussion on “self-leadership” (P149). She eloquently described how research challenges us to discover this quality as scholars and PhD researchers. While the journey can feel lonely, isolating, and challenging, Dimeji highlighted the importance of a vibrant and connected community to support and sustain us through these trials (P64). Emma shared another invaluable insight: recognizing and respecting the evolving nature of our experiences and how we can guide one another by asking questions and understanding these shifts (P36). This resonated with Daria’s sentiment about fostering care and support: "I want to give back the good things that I received when I was a student (P88).”
Daria also offered a compelling perspective on identity, acknowledging that she doesn’t see herself as entirely aligned with either industry or academia, reflecting a balance many of us strive for (P89). This idea connects to what Professor Vaughan calls the “doctoral moment”—the point when we realize, “I know what I don’t know, and I know how I could realize it” (P55). It’s a sentiment that resonates beyond academia and applies to the challenges of work and life where we act as our own bosses, project managers, or principal investigators (PI), taking full responsibility for our decisions and actions.
By the end of the book, she provided a treasure trove of suggested readings (P165), organized into four categories: design leadership, doctoral education, creative practice and research, and design knowledge/expertise. This curated list is invaluable for anyone navigating the intersection of design and research. The book left me inspired and reflective, offering insights into the design academic journey and the broader challenges of leadership, self-discovery, and intellectual growth.
Hello Chaos, A Love Story: The disorder of Seeing and Being Seen
November 19, 2024
Life hasn’t changed much, especially in the middle of the semester. Job applications, waiting for journal reviews, book writing, crafting conference papers before deadlines, giving lab tours, and the never-ending cycle of reading and emailing fill the days. I’m fortunate to experience the academic lifestyle at MIT without worrying too much about health or finances.
Two weeks ago, I purchased Hello Chaos, a Love Story: The Disorder of Seeing and Being Seen by Charlie Engman (published by MACK BOOKS) at the Ulises book exhibition at The School of the Museum of Fine Arts (SMFA) at Tufts University in Boston.
Engman’s comparison of Hello Kitty and Mickey Mouse is both intriguing and thought-provoking. Kitty, as described, is as tall as five apples and weighs as much as three (P7). Born in 1974 in Japan (P14), she is a silent figure with no mouse counterpart. In contrast, Mickey is ever-present, self-satisfied, and free from existential crises (P52). Kitty and Mickey represent a clash of opposites: Kitty, a cat from the East, and Mickey, a mouse from the West. Together, they form a perfect metaphor for the cat-and-mouse narrative that introduces the book’s broader themes.
As Kitty and Mickey navigate the chaotic interplay of imagery, emergent technology, and mass production, Engman delved into the contradictions of contemporary visual culture and inexplicit or subtle behavior. Through this experimental narrative, the book seeks deeper meanings within creativity, identity, culture, and self-expression.
This portable, visually rich book feels like reading a fieldwork note from an experienced ethnographer. Its chaos is deliberately curated, creating a unique reading experience that mirrors the sensory overload of modern life. As Engman writes in the book intro: “Extensively illustrated with a wide range of images both original and found, this book attempts to tackle the beautiful, horny, horrible vulnerability of looking and being perceived.”
Life hasn’t changed much, especially in the middle of the semester. Job applications, waiting for journal reviews, book writing, crafting conference papers before deadlines, giving lab tours, and the never-ending cycle of reading and emailing fill the days. I’m fortunate to experience the academic lifestyle at MIT without worrying too much about health or finances.
Two weeks ago, I purchased Hello Chaos, a Love Story: The Disorder of Seeing and Being Seen by Charlie Engman (published by MACK BOOKS) at the Ulises book exhibition at The School of the Museum of Fine Arts (SMFA) at Tufts University in Boston.
Engman’s comparison of Hello Kitty and Mickey Mouse is both intriguing and thought-provoking. Kitty, as described, is as tall as five apples and weighs as much as three (P7). Born in 1974 in Japan (P14), she is a silent figure with no mouse counterpart. In contrast, Mickey is ever-present, self-satisfied, and free from existential crises (P52). Kitty and Mickey represent a clash of opposites: Kitty, a cat from the East, and Mickey, a mouse from the West. Together, they form a perfect metaphor for the cat-and-mouse narrative that introduces the book’s broader themes.
As Kitty and Mickey navigate the chaotic interplay of imagery, emergent technology, and mass production, Engman delved into the contradictions of contemporary visual culture and inexplicit or subtle behavior. Through this experimental narrative, the book seeks deeper meanings within creativity, identity, culture, and self-expression.
This portable, visually rich book feels like reading a fieldwork note from an experienced ethnographer. Its chaos is deliberately curated, creating a unique reading experience that mirrors the sensory overload of modern life. As Engman writes in the book intro: “Extensively illustrated with a wide range of images both original and found, this book attempts to tackle the beautiful, horny, horrible vulnerability of looking and being perceived.”
Sparking Creativity: How Play and Humor Fuel Innovation and Design
November 15, 2024
I was honored to be invited by Prof. Barry Kudrowitz, Professor of Product Design and Head of the Department of Design Innovation at The College of Design, University of Minnesota, to give a talk on designing for longevity and my creative practice and academic research over recent years with MIT AgeLab and MIT Ideation Lab. It was also a pleasure to meet Dean and Prof. Prasad Boradkar, Prof. Tejas Dhadphale, Prof. Carlye Lauff, and Prof. Sara Pedersen to discuss design research, education, and creative learning.
Most importantly, I had the opportunity to read Prof. Kudrowitz’s latest book, Sparking Creativity: How Play and Humor Fuel Innovation and Design. It reminded me that, as design educators, we must continually ask ourselves if we inadvertently educate people out of their creative potential (Robinson, 2006).
The book explores how play and humor fuel innovation by presenting real case studies from industries across product design, architecture, and services combined with conceptual and experimental frameworks from academics. For example, it introduces the Captain Creativity framework, which includes knowledge, motivation, creative mindset, and environment (P52). Kudrowitz and Wallace (2009) also proposed the Play Pyramid taxonomy of four types of play: challenge, fantasy, sensory, and creation (P127). This framework can effectively help us identify and create various types of play experiences we aim to design.
Prof. Barry also used literature reviews, historical events, and personal stories to illustrate the concepts of play, creativity, and design. Play can be interpreted as a state of mind and flow (P125) and as the freedom of movement within a given set of constraints (P119). Creativity is about making non-obvious connections between seemingly unrelated things (P20). Design is a mixed and interactive process of convergent and divergent thinking, designing, making, and refinding (P25).
Clearly, play, creativity, and design are integral ingredients for radical innovation. Radical innovation involves transforming long-standing approaches, practices, and stereotypes, as people are naturally creatures of habit and tradition (P78).
I was honored to be invited by Prof. Barry Kudrowitz, Professor of Product Design and Head of the Department of Design Innovation at The College of Design, University of Minnesota, to give a talk on designing for longevity and my creative practice and academic research over recent years with MIT AgeLab and MIT Ideation Lab. It was also a pleasure to meet Dean and Prof. Prasad Boradkar, Prof. Tejas Dhadphale, Prof. Carlye Lauff, and Prof. Sara Pedersen to discuss design research, education, and creative learning.
Most importantly, I had the opportunity to read Prof. Kudrowitz’s latest book, Sparking Creativity: How Play and Humor Fuel Innovation and Design. It reminded me that, as design educators, we must continually ask ourselves if we inadvertently educate people out of their creative potential (Robinson, 2006).
The book explores how play and humor fuel innovation by presenting real case studies from industries across product design, architecture, and services combined with conceptual and experimental frameworks from academics. For example, it introduces the Captain Creativity framework, which includes knowledge, motivation, creative mindset, and environment (P52). Kudrowitz and Wallace (2009) also proposed the Play Pyramid taxonomy of four types of play: challenge, fantasy, sensory, and creation (P127). This framework can effectively help us identify and create various types of play experiences we aim to design.
Prof. Barry also used literature reviews, historical events, and personal stories to illustrate the concepts of play, creativity, and design. Play can be interpreted as a state of mind and flow (P125) and as the freedom of movement within a given set of constraints (P119). Creativity is about making non-obvious connections between seemingly unrelated things (P20). Design is a mixed and interactive process of convergent and divergent thinking, designing, making, and refinding (P25).
Clearly, play, creativity, and design are integral ingredients for radical innovation. Radical innovation involves transforming long-standing approaches, practices, and stereotypes, as people are naturally creatures of habit and tradition (P78).
Creating Breakthrough Products: Innovation from Product Planning to Program Approval
November 9, 2024
This book holds a special place for me.
I remember my final year of study in the Department of Industrial Design at National Cheng Kung University (NCKU) in 2012. I was enrolled in Prof. Alfred Lean-Foo Chen’s design management class, where our textbook was Creating Breakthrough Products by Prof. Jonathan M. Cagan and Prof. Craig M. Vogel (published by Prentice Hall). I bought a hard copy, but as a fresh design student, I couldn’t say I fully understood all the content.
I was drawn to the diagrams, which were valuable creative tools for my undergraduate thesis projects. For example, the user-centered design model integrates marketing, design, and engineering to frame user expectations and establish attributes through each discipline (P181). The negotiation of the design process (P149) was represented as a concentric circle that expanded to account for interest, rights, and power (Ury et al., 1988). The classic customer-driven product concept diagram (P141) illustrated the essence of Integrated New Product Design (iNPD) in contrast to traditional, discipline-specific product development models.
Now, after a decade of training, learning, setbacks, and experiences across industry, academia, and life, I am still passionately pursuing my path in design, aspiring to one day be a great and inspirational design leader. In 2023, I was honored to represent the IDSA Award Committee in presenting Prof. Craig M. Vogel with the IDSA Individual Achievement Award.
Design has broadened my world physically, spiritually, and culturally, and books have connected me with designers everywhere.
This book holds a special place for me.
I remember my final year of study in the Department of Industrial Design at National Cheng Kung University (NCKU) in 2012. I was enrolled in Prof. Alfred Lean-Foo Chen’s design management class, where our textbook was Creating Breakthrough Products by Prof. Jonathan M. Cagan and Prof. Craig M. Vogel (published by Prentice Hall). I bought a hard copy, but as a fresh design student, I couldn’t say I fully understood all the content.
I was drawn to the diagrams, which were valuable creative tools for my undergraduate thesis projects. For example, the user-centered design model integrates marketing, design, and engineering to frame user expectations and establish attributes through each discipline (P181). The negotiation of the design process (P149) was represented as a concentric circle that expanded to account for interest, rights, and power (Ury et al., 1988). The classic customer-driven product concept diagram (P141) illustrated the essence of Integrated New Product Design (iNPD) in contrast to traditional, discipline-specific product development models.
Now, after a decade of training, learning, setbacks, and experiences across industry, academia, and life, I am still passionately pursuing my path in design, aspiring to one day be a great and inspirational design leader. In 2023, I was honored to represent the IDSA Award Committee in presenting Prof. Craig M. Vogel with the IDSA Individual Achievement Award.
Design has broadened my world physically, spiritually, and culturally, and books have connected me with designers everywhere.
Selling the Invisible: A Field Guide to Modern Marketing
November 4, 2024
While working on the literature reviews to explore the notion of service engagement for my service design journal paper, I came across Selling the Invisible: A Field Guide to Modern Marketing by Harry Beckwith. Its compact size and accessible writing style made it a pleasure to read during fragmented moments, like on the metro or the morning reading with hot coffee. Beckwith's insights into service, marketing, and branding offered a fresh perspective.
Beckwith likens intangible services to human relationships (P239). The success of a service hinges on its connection with people. Customer satisfaction with service quality depends on the gap between what they expect and what value they receive (P217). One of the key challenges is making invisible services visible, relatable, touchable, and tangible so that users can resonate with them (P182). For instance, restaurants are not only about food; many are in the entertainment business, creating memorable experiences and “Instagrammable” moments for customers (P185).
Beckwith also suggests that building solid relationships is as crucial as expertise and product quality (P42). Behind most high-quality services lies an emphasis on human quality (P51). The real challenge is demonstrating and communicating service quality effectively to providers and customers (P174). A service is like a promise, and beyond fulfilling the functional aspects, we need to surprise customers by experimenting with imagination-driven ideas that add value (P19). Ultimately, we are providing services as selling the promise that, in the future, customers will benefit from and co-create value from, in, and with services (P175).
While working on the literature reviews to explore the notion of service engagement for my service design journal paper, I came across Selling the Invisible: A Field Guide to Modern Marketing by Harry Beckwith. Its compact size and accessible writing style made it a pleasure to read during fragmented moments, like on the metro or the morning reading with hot coffee. Beckwith's insights into service, marketing, and branding offered a fresh perspective.
Beckwith likens intangible services to human relationships (P239). The success of a service hinges on its connection with people. Customer satisfaction with service quality depends on the gap between what they expect and what value they receive (P217). One of the key challenges is making invisible services visible, relatable, touchable, and tangible so that users can resonate with them (P182). For instance, restaurants are not only about food; many are in the entertainment business, creating memorable experiences and “Instagrammable” moments for customers (P185).
Beckwith also suggests that building solid relationships is as crucial as expertise and product quality (P42). Behind most high-quality services lies an emphasis on human quality (P51). The real challenge is demonstrating and communicating service quality effectively to providers and customers (P174). A service is like a promise, and beyond fulfilling the functional aspects, we need to surprise customers by experimenting with imagination-driven ideas that add value (P19). Ultimately, we are providing services as selling the promise that, in the future, customers will benefit from and co-create value from, in, and with services (P175).
Design-Driven Innovation: Changing the Rules of Competition by Radically Innovating What Things Mean
October 27, 2024
Last week, while navigating academic job applications and preparing for a trip to New York for the award ceremony, I found some time to immerse myself in and finish reading Design-Driven Innovation: Changing the Rules of Competition by Radically Innovating What Things Mean by Prof. Roberto Verganti (published by Harvard Business Review).
Verganti explained design-driven innovation as a strategy for radical change through the transformation of product meanings, navigating between market pull (user-centered), technology push, and design-driven approaches (P5). He proposed an innovation framework that balances performance (function and technology) with meaning (product sense and language) to drive significant improvement through the generation of new meanings (P45). The book is rich with diagrams and visuals that make these complex concepts accessible, supported by industrial case studies and rigorous research from sectors like automobiles (FIAT Panda), design brands (Alessi), and appliances (Philips Design).
I particularly enjoyed his discussion on product longevity (P97). Verganti highlighted the FIAT Panda as an example of a long-lived product, emphasizing design's role in creating lasting impact. For instance, Bang & Olufsen products have an average life cycle of twenty years, compared to eight years for competitors. Alessi's iconic designs, such as the Kettle 9093 (1985) and Philippe Starck's Juicy Salif citrus squeezer (1990), further illustrate this principle (P99).
Verganti posed an intriguing question: How can we balance functional value and meaningful value to design products that endure (P106)? He challenged us to consider how we might transform a utilitarian object, like a corkscrew, into an object of affection (P109). Many of the challenges of product longevity stem from the transition in lifestyle (P111)—how do we reconfigure the “value network” and “relational assets (P204)” to generate novel and meaningful interpretations of products in collaboration with users or even designers for the early stage of product development?
When discussing product longevity, we often focus on a product’s life cycle—the longer it lasts, the greater its perceived value. But if the product mirrors our lives, what other key aspects should we consider creating something holistic, respectful, and mindful over time?
Last week, while navigating academic job applications and preparing for a trip to New York for the award ceremony, I found some time to immerse myself in and finish reading Design-Driven Innovation: Changing the Rules of Competition by Radically Innovating What Things Mean by Prof. Roberto Verganti (published by Harvard Business Review).
Verganti explained design-driven innovation as a strategy for radical change through the transformation of product meanings, navigating between market pull (user-centered), technology push, and design-driven approaches (P5). He proposed an innovation framework that balances performance (function and technology) with meaning (product sense and language) to drive significant improvement through the generation of new meanings (P45). The book is rich with diagrams and visuals that make these complex concepts accessible, supported by industrial case studies and rigorous research from sectors like automobiles (FIAT Panda), design brands (Alessi), and appliances (Philips Design).
I particularly enjoyed his discussion on product longevity (P97). Verganti highlighted the FIAT Panda as an example of a long-lived product, emphasizing design's role in creating lasting impact. For instance, Bang & Olufsen products have an average life cycle of twenty years, compared to eight years for competitors. Alessi's iconic designs, such as the Kettle 9093 (1985) and Philippe Starck's Juicy Salif citrus squeezer (1990), further illustrate this principle (P99).
Verganti posed an intriguing question: How can we balance functional value and meaningful value to design products that endure (P106)? He challenged us to consider how we might transform a utilitarian object, like a corkscrew, into an object of affection (P109). Many of the challenges of product longevity stem from the transition in lifestyle (P111)—how do we reconfigure the “value network” and “relational assets (P204)” to generate novel and meaningful interpretations of products in collaboration with users or even designers for the early stage of product development?
When discussing product longevity, we often focus on a product’s life cycle—the longer it lasts, the greater its perceived value. But if the product mirrors our lives, what other key aspects should we consider creating something holistic, respectful, and mindful over time?
On Ethnography
October 17, 2024
After working overnight drafting a journal paper for Design Science, I was in the mood for something calming yet intellectually engaging. On Ethnography by Sarah Daynes and Terry Williams caught my eye on my tiny bookshelf. I bought it two years ago as a reference for a graduate course but never quite got around to reading it.
I’ve always enjoyed design research, and the authors' thinking about research design as a thought process resonated with me (P38). While design research and ethnography differ, there are areas of overlap. The authors encourage readers to see ethnography as a multi-voiced practice applicable to many fields (P36). Their key advice for budding ethnographers is simple and profound: go into the field (P17) and talk to people (P142). Fieldwork, in particular, is about asking questions that lead us in unexpected directions (P145).
Hylan Lewis stressed the importance of “being there,” such as engaging with people, experiencing the environment, taking notes, and writing things down (P141). Immersing oneself in everyday life is central to contemporary ethnography, echoing traditions from both social anthropology and the Chicago School of sociology (P33).
I found the authors’ discussion on levels of comprehension especially insightful: seeing, observing, narrating, writing, and learning (P113, P131). The aim is to transform raw data into meaning-infused data (P34). There’s a fascinating ambiguity in data analysis. Ethnographers often begin analyzing the moment they enter the field (P144). It’s a continuous process, more intuitive than formulaic, that keeps the journey of inquiry alive. Ethnography thrives on the interplay between storytelling and science, balancing these two approaches to help us uncover deeper insights from meaning-infused data (P153).
After working overnight drafting a journal paper for Design Science, I was in the mood for something calming yet intellectually engaging. On Ethnography by Sarah Daynes and Terry Williams caught my eye on my tiny bookshelf. I bought it two years ago as a reference for a graduate course but never quite got around to reading it.
I’ve always enjoyed design research, and the authors' thinking about research design as a thought process resonated with me (P38). While design research and ethnography differ, there are areas of overlap. The authors encourage readers to see ethnography as a multi-voiced practice applicable to many fields (P36). Their key advice for budding ethnographers is simple and profound: go into the field (P17) and talk to people (P142). Fieldwork, in particular, is about asking questions that lead us in unexpected directions (P145).
Hylan Lewis stressed the importance of “being there,” such as engaging with people, experiencing the environment, taking notes, and writing things down (P141). Immersing oneself in everyday life is central to contemporary ethnography, echoing traditions from both social anthropology and the Chicago School of sociology (P33).
I found the authors’ discussion on levels of comprehension especially insightful: seeing, observing, narrating, writing, and learning (P113, P131). The aim is to transform raw data into meaning-infused data (P34). There’s a fascinating ambiguity in data analysis. Ethnographers often begin analyzing the moment they enter the field (P144). It’s a continuous process, more intuitive than formulaic, that keeps the journey of inquiry alive. Ethnography thrives on the interplay between storytelling and science, balancing these two approaches to help us uncover deeper insights from meaning-infused data (P153).
The Service Innovation Handbook: Action-oriented Creative Thinking Toolkit for Service Organizations
October 12, 2024
I am currently crafting a journal paper exploring how statistics can be applied to study service quality and uncover users’ latent needs. A valuable resource in this process has been Prof. Lucy Kimbell’s The Service Innovation Handbook, which I purchased last January. Despite being published a decade ago, the book offers relevant and insightful theoretical concepts, case studies, and worksheets for designers.
Kimbell adopts Hatchuel and Weil’s (2009) C-K design theory to structure the book, illustrating the relationship between concept (C), knowledge (K), and perspectives from both organizations and users (P16). Her framework on the five fundamental shifts in shaping service innovation capabilities is beneficial for planning and preparing new service designs (P47). This framework helps service designers better understand and translate the current ecosystem (the as-is) into a new one (the to-be) with a more holistic aspect (P59).
It encompasses shifts such as from “normal science” to “post-normal science” from “top-down strategy” to “wayfinding strategy,” from “value chains” to “value constellations,” from “value-in-exchange” to “value-in-use,” and from “doing things for and to” to “doing things with.” Additionally, the AEIOU framework (Wasson, 2000) provides a useful method for evaluating the five elements of service experience (P76): action (A), environments (E), interactions (I), objects (O), and users (U).
I’m also intrigued by the dual lenses—behavioral and socio-cultural—through which data can be investigated. While a behavioral approach considers individuals as existing within a given context, the sociocultural approach sees them as active co-constructors of that context (P72). This dual perspective aligns with the contrast between big data and thick data (P103). Big data relies on algorithms to offer detailed, reliable insights, while thick data focuses on collective interpretation to create a comprehensive view, emphasizing credibility and transferability.
After this intellectual journey through Kimbell’s work, particularly her afterword (P231), I feel small in front of the vastness of the knowledge she presents. It’s a reminder to stay both humble and hungry in the pursuit of learning.
I am currently crafting a journal paper exploring how statistics can be applied to study service quality and uncover users’ latent needs. A valuable resource in this process has been Prof. Lucy Kimbell’s The Service Innovation Handbook, which I purchased last January. Despite being published a decade ago, the book offers relevant and insightful theoretical concepts, case studies, and worksheets for designers.
Kimbell adopts Hatchuel and Weil’s (2009) C-K design theory to structure the book, illustrating the relationship between concept (C), knowledge (K), and perspectives from both organizations and users (P16). Her framework on the five fundamental shifts in shaping service innovation capabilities is beneficial for planning and preparing new service designs (P47). This framework helps service designers better understand and translate the current ecosystem (the as-is) into a new one (the to-be) with a more holistic aspect (P59).
It encompasses shifts such as from “normal science” to “post-normal science” from “top-down strategy” to “wayfinding strategy,” from “value chains” to “value constellations,” from “value-in-exchange” to “value-in-use,” and from “doing things for and to” to “doing things with.” Additionally, the AEIOU framework (Wasson, 2000) provides a useful method for evaluating the five elements of service experience (P76): action (A), environments (E), interactions (I), objects (O), and users (U).
I’m also intrigued by the dual lenses—behavioral and socio-cultural—through which data can be investigated. While a behavioral approach considers individuals as existing within a given context, the sociocultural approach sees them as active co-constructors of that context (P72). This dual perspective aligns with the contrast between big data and thick data (P103). Big data relies on algorithms to offer detailed, reliable insights, while thick data focuses on collective interpretation to create a comprehensive view, emphasizing credibility and transferability.
After this intellectual journey through Kimbell’s work, particularly her afterword (P231), I feel small in front of the vastness of the knowledge she presents. It’s a reminder to stay both humble and hungry in the pursuit of learning.
Swedish Design: An Ethnography
October 1, 2024
In September 2022, I purchased Swedish Design: An Ethnography by Prof. Keith M. Murphy (published by Cornell University Press), as Prof. Graham M. Jones recommended in his class, 21A.819 Ethnographic Research Methods, at Massachusetts Institute of Technology. I didn’t finish the book initially, but last week, I finally had a few peaceful mornings and evenings to delve into the social meaning of objects and the politics of design through the perspective of a linguistic anthropologist.
I appreciate Murphy’s view of design as an anthropological subject of inquiry (P3). He utilized discourse analytic methods to examine a wide range of design-related media, including publications, design books, museum exhibits, store catalogs, television sources, and interview material (P11).
As an anthropologist, he interprets design as a form of spoken and embodied language, reflecting experiences and services (P204). He asserts, “Language is not simply a means of representing ideas, things, and feelings in socially shareable forms, but also deeply constitutive of various cultural activities that collectively shape lived reality” (P12).
In Sweden, the basic elements of design—point, line, and plane—have been transformed into critical vectors of cultural value (P45), mirroring the society’s investment in preserving design as a system of reified cultural values (P214).
Design, according to Murphy, is intended to provide impersonal, external care in our everyday lives (P215). Moreover, designing a social cosmology (P206) can begin by redefining the design objects. Objects can be comprehended as being ordered through compartmentalized displays and arrangements, based on criteria such as time, material, function, or producer (P204).
This book is an ethnographic study of Swedish design. It reflects Murphy’s desire to understand designing from the designer’s views (P11) while exploring the connections between people, objects, and politics (P2). He challenges the reader with questions such as, “How are things designed to be political?” and “How are things made to mean?”—echoing Langdon Winner’s famous query (1980): “Do artifacts have politics?”
In September 2022, I purchased Swedish Design: An Ethnography by Prof. Keith M. Murphy (published by Cornell University Press), as Prof. Graham M. Jones recommended in his class, 21A.819 Ethnographic Research Methods, at Massachusetts Institute of Technology. I didn’t finish the book initially, but last week, I finally had a few peaceful mornings and evenings to delve into the social meaning of objects and the politics of design through the perspective of a linguistic anthropologist.
I appreciate Murphy’s view of design as an anthropological subject of inquiry (P3). He utilized discourse analytic methods to examine a wide range of design-related media, including publications, design books, museum exhibits, store catalogs, television sources, and interview material (P11).
As an anthropologist, he interprets design as a form of spoken and embodied language, reflecting experiences and services (P204). He asserts, “Language is not simply a means of representing ideas, things, and feelings in socially shareable forms, but also deeply constitutive of various cultural activities that collectively shape lived reality” (P12).
In Sweden, the basic elements of design—point, line, and plane—have been transformed into critical vectors of cultural value (P45), mirroring the society’s investment in preserving design as a system of reified cultural values (P214).
Design, according to Murphy, is intended to provide impersonal, external care in our everyday lives (P215). Moreover, designing a social cosmology (P206) can begin by redefining the design objects. Objects can be comprehended as being ordered through compartmentalized displays and arrangements, based on criteria such as time, material, function, or producer (P204).
This book is an ethnographic study of Swedish design. It reflects Murphy’s desire to understand designing from the designer’s views (P11) while exploring the connections between people, objects, and politics (P2). He challenges the reader with questions such as, “How are things designed to be political?” and “How are things made to mean?”—echoing Langdon Winner’s famous query (1980): “Do artifacts have politics?”
Design in Context: A Framework for Strategic Differentiation
September 22, 2024
By the end of July, I was pleasantly surprised to receive Todd Bracher’s latest book, Design in Context: A Framework for Strategic Differentiation. Amidst the chaos of data analysis and synthesis, I set aside a weekend morning with a cup of coffee and a warm almond croissant to immerse myself in Todd’s design journey.
Bracher skillfully demystifies design by stripping away abstraction (P164), illustrating his philosophy through practical experiences and insights. While we often view design as poetic, human-centered, and beautiful (P156), Bracher, along with voices like Michael Bierut, reminds us that frustration can also be a powerful driver of innovation (P161).
The concept of "design in context” emerges as an approach that considers multiple factors influencing the desired outcomes (P250). Although the design process may seem opaque to many, the elegance of design reveals itself when every detail serves a purpose, creating harmony between form and function (P130). Mickey Beyer-Clausen offers a simple yet effective metric to measure design’s impact: “You know a product is working when people are talking about it and sharing it with friends and colleagues” (P180).
I found myself particularly inspired by Bracher’s principle of “nothing extra, nothing less” (P64), which aligns closely with Taku Satoh’s “hodo-hodo” or “just enough” design philosophy. This idea of minimalist honesty in design fosters transparency (P158) and enhances the experience for users, consumers, clients, and designers alike. Furthermore, design should be translatable, relatable, understandable, and open to questioning (P221).
In today’s landscape of systemic social, technological, and economic challenges, the definition of design has evolved into a context-driven, system-level strategy (P207) with a focus on effective execution (P202). A good designer distills, translates, refines, and simplifies complex information, ultimately transforming it into a relevant, intuitive product experience for, with, and by people (P185).
By the end of July, I was pleasantly surprised to receive Todd Bracher’s latest book, Design in Context: A Framework for Strategic Differentiation. Amidst the chaos of data analysis and synthesis, I set aside a weekend morning with a cup of coffee and a warm almond croissant to immerse myself in Todd’s design journey.
Bracher skillfully demystifies design by stripping away abstraction (P164), illustrating his philosophy through practical experiences and insights. While we often view design as poetic, human-centered, and beautiful (P156), Bracher, along with voices like Michael Bierut, reminds us that frustration can also be a powerful driver of innovation (P161).
The concept of "design in context” emerges as an approach that considers multiple factors influencing the desired outcomes (P250). Although the design process may seem opaque to many, the elegance of design reveals itself when every detail serves a purpose, creating harmony between form and function (P130). Mickey Beyer-Clausen offers a simple yet effective metric to measure design’s impact: “You know a product is working when people are talking about it and sharing it with friends and colleagues” (P180).
I found myself particularly inspired by Bracher’s principle of “nothing extra, nothing less” (P64), which aligns closely with Taku Satoh’s “hodo-hodo” or “just enough” design philosophy. This idea of minimalist honesty in design fosters transparency (P158) and enhances the experience for users, consumers, clients, and designers alike. Furthermore, design should be translatable, relatable, understandable, and open to questioning (P221).
In today’s landscape of systemic social, technological, and economic challenges, the definition of design has evolved into a context-driven, system-level strategy (P207) with a focus on effective execution (P202). A good designer distills, translates, refines, and simplifies complex information, ultimately transforming it into a relevant, intuitive product experience for, with, and by people (P185).
The Longevity Imperative: How to Build a Healthier and More Productive Society to Support Our Longer Lives
September 17, 2024
On my flight from The IDSA International Design Conference (IDC) & Education Symposium to MIT, I was reading The Longevity Imperative: How to Build a Healthier and More Productive Society to Support Our Longer Lives by Prof. Andrew J. Scott. It took me a while to finish this book published by Basic Books, which I purchased on June 9. The thought-provoking insights, stories, and research within prompted me to reflect on how a longevity society must focus not only on supporting the elderly but also on preparing younger generations for the challenges that lie ahead (P35).
Scott suggests that we may even need to retire the concept of “retirement” itself (P141), as it is no longer a singular event but a process (P139). Aging is also a lifelong process (P50). Alongside the passage of time, we must also consider how we can offer people a sense of identity, purpose, challenge, enjoyment, and community throughout their lives (P124). Ultimately, how we age in terms of health span and life expectancy (P117) will determine how we pay for longer lives by extending the years we remain productive and engaged (P123).
We are living through the third longevity revolution, driven by scientific advancements, medical breakthroughs, public health initiatives, and improvements in living standards that have dramatically increased life expectancy (P90). This shift marks the transition from longevity economics to what Scott calls “evergreen economics” (P87). He proposes six guiding principles for an evergreen agenda: 1. be longevity literate, 2. make a friend of your future self, 3. age differently, 4. use what works now and keep informed, 5. don’t underestimate the capacity of your later years, and 6. pay it forward/pay it back (P274).
I find myself particularly inspired by the idea of “Design for Longevity” (D4L), which aligns with my research interests. From designing for waste (linearity) to designing for circularity and moving from circular to longevity and evergreen economics, the role of design is also evolving, both innovative and integrative. How can we better prepare and plan for a sustainable future, where the world is driven less by ego and more by empathy?
On my flight from The IDSA International Design Conference (IDC) & Education Symposium to MIT, I was reading The Longevity Imperative: How to Build a Healthier and More Productive Society to Support Our Longer Lives by Prof. Andrew J. Scott. It took me a while to finish this book published by Basic Books, which I purchased on June 9. The thought-provoking insights, stories, and research within prompted me to reflect on how a longevity society must focus not only on supporting the elderly but also on preparing younger generations for the challenges that lie ahead (P35).
Scott suggests that we may even need to retire the concept of “retirement” itself (P141), as it is no longer a singular event but a process (P139). Aging is also a lifelong process (P50). Alongside the passage of time, we must also consider how we can offer people a sense of identity, purpose, challenge, enjoyment, and community throughout their lives (P124). Ultimately, how we age in terms of health span and life expectancy (P117) will determine how we pay for longer lives by extending the years we remain productive and engaged (P123).
We are living through the third longevity revolution, driven by scientific advancements, medical breakthroughs, public health initiatives, and improvements in living standards that have dramatically increased life expectancy (P90). This shift marks the transition from longevity economics to what Scott calls “evergreen economics” (P87). He proposes six guiding principles for an evergreen agenda: 1. be longevity literate, 2. make a friend of your future self, 3. age differently, 4. use what works now and keep informed, 5. don’t underestimate the capacity of your later years, and 6. pay it forward/pay it back (P274).
I find myself particularly inspired by the idea of “Design for Longevity” (D4L), which aligns with my research interests. From designing for waste (linearity) to designing for circularity and moving from circular to longevity and evergreen economics, the role of design is also evolving, both innovative and integrative. How can we better prepare and plan for a sustainable future, where the world is driven less by ego and more by empathy?
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.
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