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The 100-Year Life: Living and Working in an Age of Longevity
April 28, 2024
Last week, I enjoyed finishing this book "The 100-Year Life: Living and Working in an Age of Longevity" by Lynda Gratton and Andrew Scott. I was also fortunate to attend the launch event for Professor Scott's new book, “The Longevity Imperative: How to Build a Healthier and More Productive Society to Support Our Longer Lives”, co-hosted by MIT AgeLab and TIAA at MIT Sloan. The authors provide a unique perspective on economics and social science to discuss longevity. I particularly appreciated the way they structured the book, weaving life-relevant examples into nine chapters on topics such as living, financing, working, intangibles, scenarios, stages, money, time, and relationships.
Longevity presents complex challenges that everyone faces, including issues of identity, choice, and risk, all of which help us navigate a long life (P17). The factors influencing and impacting how we live a long life are diverse, complicated, and systematic—economic and financial, psychological and sociological, medical and demographic (P16). We are already in the era of longevity economics, driven by service and experience industries. Preparing for the future involves transferring money and other social currencies from today to the future, a task most find difficult when trying to connect their current self with their future self (P201).
What impressed and inspired me most was how the authors re-defined "asset" as a figure of merit to measure the quality of longevity planning or the concept of longevity. They describe an asset as something that provides benefits over time (P86) and categorize five different types of assets (P85, P112, P130): tangible assets (e.g., money, pensions, homes) and intangible assets (e.g., emotional support, a wide circle of friends). Among the intangible assets, they identify productive assets (e.g., reputation, peers, knowledge), vitality assets (e.g., regenerative friendships, health, balanced living), and transformational assets (e.g., diverse networks, self-knowledge). This approach effectively helps individuals comprehend the importance of longevity planning and reminds us of what we can and should do to prepare for living and working in an age of longevity.
Last week, I enjoyed finishing this book "The 100-Year Life: Living and Working in an Age of Longevity" by Lynda Gratton and Andrew Scott. I was also fortunate to attend the launch event for Professor Scott's new book, “The Longevity Imperative: How to Build a Healthier and More Productive Society to Support Our Longer Lives”, co-hosted by MIT AgeLab and TIAA at MIT Sloan. The authors provide a unique perspective on economics and social science to discuss longevity. I particularly appreciated the way they structured the book, weaving life-relevant examples into nine chapters on topics such as living, financing, working, intangibles, scenarios, stages, money, time, and relationships.
Longevity presents complex challenges that everyone faces, including issues of identity, choice, and risk, all of which help us navigate a long life (P17). The factors influencing and impacting how we live a long life are diverse, complicated, and systematic—economic and financial, psychological and sociological, medical and demographic (P16). We are already in the era of longevity economics, driven by service and experience industries. Preparing for the future involves transferring money and other social currencies from today to the future, a task most find difficult when trying to connect their current self with their future self (P201).
What impressed and inspired me most was how the authors re-defined "asset" as a figure of merit to measure the quality of longevity planning or the concept of longevity. They describe an asset as something that provides benefits over time (P86) and categorize five different types of assets (P85, P112, P130): tangible assets (e.g., money, pensions, homes) and intangible assets (e.g., emotional support, a wide circle of friends). Among the intangible assets, they identify productive assets (e.g., reputation, peers, knowledge), vitality assets (e.g., regenerative friendships, health, balanced living), and transformational assets (e.g., diverse networks, self-knowledge). This approach effectively helps individuals comprehend the importance of longevity planning and reminds us of what we can and should do to prepare for living and working in an age of longevity.
Design as Democratic Inquiry
April 19, 2024
Having completed the intense preparation of my application materials for my academic job talk, I've managed to carve out time to reflect on "Design as Democratic Inquiry" by Prof. Carl DiSalvo, a 2022 MIT Press publication. The book presented intriguing perspectives and methodologies, as Prof. DiSalvo employed design as a mode of inquiry (P179) to delve into the symbiosis of design and democracy. Notably, Prof. DiSalvo adopts the term "civics" to mean "democracy on a micro scale," representing those contextual or situated experiences that are conducive to fostering unity, collective agency, and a sense of community (P19).
I consider that design is an application science. It sits alongside art, craft, writing, and other creative disciplines as valid forms of imaginative making. The author mentioned that design's role in civics may not fit the strict definition of science (P22). Nonetheless, I concur with the notion that design experiments in civics intricately weave together imaginative making, political theories, and social structure (P16). The author suggests that design experiments in civics are creative practices to reconfigure our communal existence, essentially framing them as means of democratic inquiry through design (P15).
The book also contemplates the practice and conceptualization of design within the realm of democratic inquiry. Particularly, it considers complex and systemic socioeconomic projects as emergent from the interplay among individuals, institutions, and ideologies (P7). Prof. DiSalvo’s objective, in his various projects and experiences, was to define a design practice that is active, imaginative, and inherently political.
Having completed the intense preparation of my application materials for my academic job talk, I've managed to carve out time to reflect on "Design as Democratic Inquiry" by Prof. Carl DiSalvo, a 2022 MIT Press publication. The book presented intriguing perspectives and methodologies, as Prof. DiSalvo employed design as a mode of inquiry (P179) to delve into the symbiosis of design and democracy. Notably, Prof. DiSalvo adopts the term "civics" to mean "democracy on a micro scale," representing those contextual or situated experiences that are conducive to fostering unity, collective agency, and a sense of community (P19).
I consider that design is an application science. It sits alongside art, craft, writing, and other creative disciplines as valid forms of imaginative making. The author mentioned that design's role in civics may not fit the strict definition of science (P22). Nonetheless, I concur with the notion that design experiments in civics intricately weave together imaginative making, political theories, and social structure (P16). The author suggests that design experiments in civics are creative practices to reconfigure our communal existence, essentially framing them as means of democratic inquiry through design (P15).
The book also contemplates the practice and conceptualization of design within the realm of democratic inquiry. Particularly, it considers complex and systemic socioeconomic projects as emergent from the interplay among individuals, institutions, and ideologies (P7). Prof. DiSalvo’s objective, in his various projects and experiences, was to define a design practice that is active, imaginative, and inherently political.
Dark Matter and Trojan Horses: A Strategic Design Vocabulary
April 11, 2024
Last month, I read Dan Hill’s book—Dark Matter and Trojan Horses: A Strategic Design Vocabulary. This book offers a thought-provoking perspective into the evolving realm of design. Hill challenges us to think like a designer (P113) and behave as a design leader in the context of transformation. The interpretation of design and design outcomes are no longer concerned only with objects. Design is concerned with service and is centered around systems—and now cares about systems of systems or ecologies (P132). Furthermore, within the traditional design practice, strategic design has changed from products, services, and space to encompass relationships, contexts, and strategies. This approach maintains a crucial balance between overarching concepts and tangible realities, while actively engaging with public and civic issues alongside commercial ones without losing sight of the symbiotic relationship (P168).
Hill portrays design as an inherently interactive discipline, adept at navigating the spaces between entities, understanding intersections, and synthesizing rather than merely analyzing (P135). He advocates for a design approach that blends pragmatism with imagination, emphasizes prototyping, learns from execution, and communicates through tangible projects. This method seeks to harmonize strategic intent and political capital with iterative actions, systems thinking, and user-centered design (P168). Hill encourages us to view design as a cultural invention (P118), positioning designers not just as creators but as influential shapers of culture.
Last month, I read Dan Hill’s book—Dark Matter and Trojan Horses: A Strategic Design Vocabulary. This book offers a thought-provoking perspective into the evolving realm of design. Hill challenges us to think like a designer (P113) and behave as a design leader in the context of transformation. The interpretation of design and design outcomes are no longer concerned only with objects. Design is concerned with service and is centered around systems—and now cares about systems of systems or ecologies (P132). Furthermore, within the traditional design practice, strategic design has changed from products, services, and space to encompass relationships, contexts, and strategies. This approach maintains a crucial balance between overarching concepts and tangible realities, while actively engaging with public and civic issues alongside commercial ones without losing sight of the symbiotic relationship (P168).
Hill portrays design as an inherently interactive discipline, adept at navigating the spaces between entities, understanding intersections, and synthesizing rather than merely analyzing (P135). He advocates for a design approach that blends pragmatism with imagination, emphasizes prototyping, learns from execution, and communicates through tangible projects. This method seeks to harmonize strategic intent and political capital with iterative actions, systems thinking, and user-centered design (P168). Hill encourages us to view design as a cultural invention (P118), positioning designers not just as creators but as influential shapers of culture.
Ruined by Design: How Designers Destroyed the World, and What We Can Do to Fix It
April 7, 2024
Mike Monteiro shared his life and work experience in the design field in his book—Ruined by Design: How Designers Destroyed the World, and What We Can Do to Fix It. Unsurprisingly, most people recognized that design is a verb (P69) for personal expression or social act. He emphasizes that design's impact is primarily determined by the designer's actions rather than their intentions (P82). The traditional view confines design to specific crafts as a professional discipline. Designer’s job is not just to protect the people or users who come in contact with the tools we build (P58). In the transformation era, designers advocate for a broader approach that considers political, cultural, systemic, and global complexities.
Monteiro argued the role and responsibility of being a designer has grown significantly in importance, particularly since the general impression of designers still equates designing with “the pushing of pixels” (P141). The designers’ values are more than moving pixels, changing line colors, and shaping product forms on paper. He argued that designers do not simply serve as cogs in the machines of society, instead like oil or catalysts ensuring the smooth operation and harmony of societal systems (P107).
Monteiro points out that reluctance towards design research often stems from big ego and fear, rather than a lack of capability (P117). In the field, designers don’t ask for permission to do their job and research (P109). Sometimes, asking for forgiveness is more important than permission. Monteiro also discussed the importance of design leadership and culture. For example, why do bosses need to teach designers to think outside the box when they can hire talents outside the box (P74)? Having a successful design career has little to do with how creative designers are (P65). Companies and design leaders invest not only in ideas but also in the people who can shape and build the creative culture and energy around those ideas.
Mike Monteiro shared his life and work experience in the design field in his book—Ruined by Design: How Designers Destroyed the World, and What We Can Do to Fix It. Unsurprisingly, most people recognized that design is a verb (P69) for personal expression or social act. He emphasizes that design's impact is primarily determined by the designer's actions rather than their intentions (P82). The traditional view confines design to specific crafts as a professional discipline. Designer’s job is not just to protect the people or users who come in contact with the tools we build (P58). In the transformation era, designers advocate for a broader approach that considers political, cultural, systemic, and global complexities.
Monteiro argued the role and responsibility of being a designer has grown significantly in importance, particularly since the general impression of designers still equates designing with “the pushing of pixels” (P141). The designers’ values are more than moving pixels, changing line colors, and shaping product forms on paper. He argued that designers do not simply serve as cogs in the machines of society, instead like oil or catalysts ensuring the smooth operation and harmony of societal systems (P107).
Monteiro points out that reluctance towards design research often stems from big ego and fear, rather than a lack of capability (P117). In the field, designers don’t ask for permission to do their job and research (P109). Sometimes, asking for forgiveness is more important than permission. Monteiro also discussed the importance of design leadership and culture. For example, why do bosses need to teach designers to think outside the box when they can hire talents outside the box (P74)? Having a successful design career has little to do with how creative designers are (P65). Companies and design leaders invest not only in ideas but also in the people who can shape and build the creative culture and energy around those ideas.
Designerly Ways of Knowing: A Working Inventory of Things a Designer Should Know
March 16, 2024
I recently finished reading "Designerly Ways of Knowing: A Working Inventory of Things a Designer Should Know" by Danah Abdullah, published by Onomatopee.
Drawing inspiration from Michael Sorkin’s "Two Hundred and Fifty Things an Architect Should Know," Danah has compiled her own list of 240 essential elements—including questions, ideas, and statements—that designers ought to be familiar with. Among the provocative concepts that have resonated with me are: When not to design(P13); What is current and how does that create currency? (P23); That definitions belong to the definers, not the defined (P23); The reasons for the split between design and art (P39); The idea of too far (P41); The idea of too close (P41).
This compact book is designed for easy reading, whether during a morning commute on the metro or as a leisurely weekend activity. Danah's insights are intended to stimulate conversation, encourage critical thinking, and empower designers to reevaluate their creative approach to their craft. It also underscores a pivotal message she conveys in her book “Every designer also needs to be a generalist.“ The necessity for creative talents to possess a broad range of knowledge and skills.
I recently finished reading "Designerly Ways of Knowing: A Working Inventory of Things a Designer Should Know" by Danah Abdullah, published by Onomatopee.
Drawing inspiration from Michael Sorkin’s "Two Hundred and Fifty Things an Architect Should Know," Danah has compiled her own list of 240 essential elements—including questions, ideas, and statements—that designers ought to be familiar with. Among the provocative concepts that have resonated with me are: When not to design(P13); What is current and how does that create currency? (P23); That definitions belong to the definers, not the defined (P23); The reasons for the split between design and art (P39); The idea of too far (P41); The idea of too close (P41).
This compact book is designed for easy reading, whether during a morning commute on the metro or as a leisurely weekend activity. Danah's insights are intended to stimulate conversation, encourage critical thinking, and empower designers to reevaluate their creative approach to their craft. It also underscores a pivotal message she conveys in her book “Every designer also needs to be a generalist.“ The necessity for creative talents to possess a broad range of knowledge and skills.
Artful Objects: Graham Harman on Art and the Business of Speculative Realism
February 24, 2024
I read this pocket-size book: Artful Objects: Graham Harman on Art and the Business of Speculative Realism By Graham Harman, while working on a research project over the winter break collaborating with the Innovation Center Social Design Hub at the Moholy-Nagy University of Art and Design (MOME) in Budapest, Hungary.
Harman embarks on a philosophical journey, posing questions such as "What is an object?" (P12) and further discussing concepts like "object-oriented democracy" (P22) and "object-oriented politics," framing his discourse through a philosophical lens.
To Harman, philosophy is not a kind of knowledge. Philosophy is something more than and less than knowledge (P16). Philosophy could transcend mere knowledge. His perspective resonates with my understanding of design: Is design merely knowledge? Or is it a medium of self-expression and communication, shaped by personal experiences? Or we can comprehend that design is a reflection and projection of our observation capability in work and life?
Harman's assertion that everything is intrinsically relational, political, and cultural makes me think that when designing products, services, and experiences for or with people in various contexts to solve different layers of challenges, we might need to think about the visible objects, interactions, and user experiences in the background as well as consider the conditions and constraints in the foreground (P58) to gain much more comprehensive insights to from the contextual information.
I read this pocket-size book: Artful Objects: Graham Harman on Art and the Business of Speculative Realism By Graham Harman, while working on a research project over the winter break collaborating with the Innovation Center Social Design Hub at the Moholy-Nagy University of Art and Design (MOME) in Budapest, Hungary.
Harman embarks on a philosophical journey, posing questions such as "What is an object?" (P12) and further discussing concepts like "object-oriented democracy" (P22) and "object-oriented politics," framing his discourse through a philosophical lens.
To Harman, philosophy is not a kind of knowledge. Philosophy is something more than and less than knowledge (P16). Philosophy could transcend mere knowledge. His perspective resonates with my understanding of design: Is design merely knowledge? Or is it a medium of self-expression and communication, shaped by personal experiences? Or we can comprehend that design is a reflection and projection of our observation capability in work and life?
Harman's assertion that everything is intrinsically relational, political, and cultural makes me think that when designing products, services, and experiences for or with people in various contexts to solve different layers of challenges, we might need to think about the visible objects, interactions, and user experiences in the background as well as consider the conditions and constraints in the foreground (P58) to gain much more comprehensive insights to from the contextual information.
Lifelong Kindergarten: Cultivating Creativity through Projects, Passion, Peers, and Play
February 11, 2024
In preparation for the upcoming spring graduate course at MIT Media Lab, "Learning Creative Learning (MAS.712)," I read the book "Lifelong Kindergarten: Cultivating Creativity through Projects, Passion, Peers, and Play" by Mitchel Resnick. The book resonated deeply with me, particularly Resnick's mentioned that "Passion is the fuel that drives the immersive-reflection cycle" (P71). His dedication to learning and education, coupled with compelling case studies and educational learning tools like Scratch—an accessible programming language enabling the creation of interactive stories, animations, and games—inspired me profoundly.
Resnick's insights provided me with a fresh perspective as I reflected on challenges within the realm of design education and creative tools we applied as designers. His emphasis on fostering a knowledge society (P157) and cultivating creativity stirred my contemplation on how to apply his principles to promote innovation and creativity within our society.
Planners versus tinkers
Individuals with a planner personality tend to approach tasks with a methodical, top-to-bottom organization, while tinkers adopt a more bottom-to-top problem-solving approach. A well-rounded team should ideally comprise individuals with both planner and tinker personalities, as effectively addressing design challenges often demands the integration of both processes.
As highlighted by the statement in the book, "Creative thinking grows out of creative tinkering" (P139), there is value in making space for exploration and experimentation. While it's crucial to plan processes, manage expectations, and scope projects right, it's equally important to meander around through complexities by onsite observing, identifying patterns, and drawing insights from analogous examples and inspiration. Thus, a balanced approach that combines structured planning with flexible exploration is essential for innovative problem-solving.
A growth mindset versus a fixed mindset
Psychologist Carol Dweck introduced the concept of a "growth mindset" (P148), which suggests that individuals have the capacity to continually learn, develop, and adapt their knowledge, mindset, perceptions, and actions through dedication and perseverance. The notion of "growth" personally resonates with me as a designer, signifying the need for ongoing transformation in terms of designers’ skillsets, mindsets, and behaviors to navigate complex challenges effectively.
Embracing a growth mindset is crucial, but it's equally important to actively invest in and nurture our personal growth as human as a whole. This can empower us when we get stuck in the context of problems, we can still stick with it and be optimistic (P166).
Low floors, high ceilings, and wide walls
Seymour Papert used the metaphorical term "low floors" to describe the importance of accessibility in learning or developing creative tools for users (P64). Additionally, he introduced the concept of "high ceilings" to highlight the capacity of design tools to address complex and challenging tasks. Building upon these principles, Resnick introduced the notion of "wide walls," emphasizing the diversity of potential approaches to problem-solving and the myriad paths to creating design solutions and ideas.
Papert and Resnick's guiding principles are made tangible and visible, as Resnick stresses in the book, "make learning visible" (P159), enabling explicit explanation of these fundamental concepts to others and facilitating the scalability of their social influence and positive impact.
Playpen versus playground
Drawing inspiration from the metaphors of the playpen and the playground found in the book (P130), the playpen symbolizes a confined space for considering design problems, while the playground represents a broader context for understanding unforeseen challenges. However, I think that social-technological design challenges, including climate change, aging, sustainability, digital transformation, and organizational change, most are intricate, systemic, and complex in nature.
These complex or wicked problems often manifest as merely the tip of the iceberg, with underlying complexities extending into various interconnected systems and subsystems, including organizational cultures, global politics, and social infrastructures. This distinction between the playpen and the playground echoes the concept of "hard fun" (P70) proposed by Papert. It underscores the need to move beyond following well-established rules and rituals, instead embracing experimentation and pushing boundaries of creativities. Rather than merely "thinking outside the box," we must strive to "build the new box" to address these obstacles effectively.
In preparation for the upcoming spring graduate course at MIT Media Lab, "Learning Creative Learning (MAS.712)," I read the book "Lifelong Kindergarten: Cultivating Creativity through Projects, Passion, Peers, and Play" by Mitchel Resnick. The book resonated deeply with me, particularly Resnick's mentioned that "Passion is the fuel that drives the immersive-reflection cycle" (P71). His dedication to learning and education, coupled with compelling case studies and educational learning tools like Scratch—an accessible programming language enabling the creation of interactive stories, animations, and games—inspired me profoundly.
Resnick's insights provided me with a fresh perspective as I reflected on challenges within the realm of design education and creative tools we applied as designers. His emphasis on fostering a knowledge society (P157) and cultivating creativity stirred my contemplation on how to apply his principles to promote innovation and creativity within our society.
Planners versus tinkers
Individuals with a planner personality tend to approach tasks with a methodical, top-to-bottom organization, while tinkers adopt a more bottom-to-top problem-solving approach. A well-rounded team should ideally comprise individuals with both planner and tinker personalities, as effectively addressing design challenges often demands the integration of both processes.
As highlighted by the statement in the book, "Creative thinking grows out of creative tinkering" (P139), there is value in making space for exploration and experimentation. While it's crucial to plan processes, manage expectations, and scope projects right, it's equally important to meander around through complexities by onsite observing, identifying patterns, and drawing insights from analogous examples and inspiration. Thus, a balanced approach that combines structured planning with flexible exploration is essential for innovative problem-solving.
A growth mindset versus a fixed mindset
Psychologist Carol Dweck introduced the concept of a "growth mindset" (P148), which suggests that individuals have the capacity to continually learn, develop, and adapt their knowledge, mindset, perceptions, and actions through dedication and perseverance. The notion of "growth" personally resonates with me as a designer, signifying the need for ongoing transformation in terms of designers’ skillsets, mindsets, and behaviors to navigate complex challenges effectively.
Embracing a growth mindset is crucial, but it's equally important to actively invest in and nurture our personal growth as human as a whole. This can empower us when we get stuck in the context of problems, we can still stick with it and be optimistic (P166).
Low floors, high ceilings, and wide walls
Seymour Papert used the metaphorical term "low floors" to describe the importance of accessibility in learning or developing creative tools for users (P64). Additionally, he introduced the concept of "high ceilings" to highlight the capacity of design tools to address complex and challenging tasks. Building upon these principles, Resnick introduced the notion of "wide walls," emphasizing the diversity of potential approaches to problem-solving and the myriad paths to creating design solutions and ideas.
Papert and Resnick's guiding principles are made tangible and visible, as Resnick stresses in the book, "make learning visible" (P159), enabling explicit explanation of these fundamental concepts to others and facilitating the scalability of their social influence and positive impact.
Playpen versus playground
Drawing inspiration from the metaphors of the playpen and the playground found in the book (P130), the playpen symbolizes a confined space for considering design problems, while the playground represents a broader context for understanding unforeseen challenges. However, I think that social-technological design challenges, including climate change, aging, sustainability, digital transformation, and organizational change, most are intricate, systemic, and complex in nature.
These complex or wicked problems often manifest as merely the tip of the iceberg, with underlying complexities extending into various interconnected systems and subsystems, including organizational cultures, global politics, and social infrastructures. This distinction between the playpen and the playground echoes the concept of "hard fun" (P70) proposed by Papert. It underscores the need to move beyond following well-established rules and rituals, instead embracing experimentation and pushing boundaries of creativities. Rather than merely "thinking outside the box," we must strive to "build the new box" to address these obstacles effectively.
The Language of Things: Understanding the World of Desirable Objects
January 25, 2024
While traveling in Europe, I enjoyed reading "The Language of Things: Understanding the World of Desirable Objects" by Deyan Sudjic, the former Director of the Design Museum in London, published by the Penguin Press.
As an industrial designer and electrical engineer by training, I find the interplay between design intent and form fascinating, as it transforms purpose into tangible beauty: form (P192). Particularly at the present, when our connection with our possessions with objects is undergoing a radical transformation (P216).
Sudjic poetically mentioned that tangible objects exist within a complex choreography of interaction (P54), playing a significant role in measuring the passage of our lives. He emphasizes that these artifacts are not just utilitarian or forms; they define and signal our identity: who we are, and who we are not (P21). While many consider tangible objects as unarguable facts and physical traces of daily life (P6), this might challenge the traditional perception by intertwining ideology with design problem-solving (P216).
Sudjic's perspective on design is thoughtfully inspiring. He considers design as a language that extends beyond mere visuals. The design employs color and shape not only for playfulness or functionality but also as reflections of our economic systems and services (P89). Design, according to Sudjic, metaphorically serves as the DNA of a society, whether industrial or post-industrial (P49). It acts as a language through which a society communicates its values and purpose by creating objects that embody these principles (P50). Moreover, design is used to shape individuals' perceptions of how to understand tangible artifacts (P51).
While traveling in Europe, I enjoyed reading "The Language of Things: Understanding the World of Desirable Objects" by Deyan Sudjic, the former Director of the Design Museum in London, published by the Penguin Press.
As an industrial designer and electrical engineer by training, I find the interplay between design intent and form fascinating, as it transforms purpose into tangible beauty: form (P192). Particularly at the present, when our connection with our possessions with objects is undergoing a radical transformation (P216).
Sudjic poetically mentioned that tangible objects exist within a complex choreography of interaction (P54), playing a significant role in measuring the passage of our lives. He emphasizes that these artifacts are not just utilitarian or forms; they define and signal our identity: who we are, and who we are not (P21). While many consider tangible objects as unarguable facts and physical traces of daily life (P6), this might challenge the traditional perception by intertwining ideology with design problem-solving (P216).
Sudjic's perspective on design is thoughtfully inspiring. He considers design as a language that extends beyond mere visuals. The design employs color and shape not only for playfulness or functionality but also as reflections of our economic systems and services (P89). Design, according to Sudjic, metaphorically serves as the DNA of a society, whether industrial or post-industrial (P49). It acts as a language through which a society communicates its values and purpose by creating objects that embody these principles (P50). Moreover, design is used to shape individuals' perceptions of how to understand tangible artifacts (P51).
Writing Ethnographic Fieldnotes
January 15, 2024
I have a deep fascination with ethnographic research. Ethnography serves as an invaluable approach for understanding and describing social worlds, drawing from the rich theories of symbolic interaction and ethnomethodology (P2). The primary objective of an ethnographer is not to uncover a single "truth" or provide a definitive solution, but rather to unveil the myriad truths and possibilities that exist within others' lives.
Ethnography research wields a profound influence over design research. While I initially honed my design research skills during my industry experience at IDEO and Design Continuum, I consider myself fortunate to continually learn, relearn, and unlearn design research through the lens of ethnography. One influential resource that came my way was the book "Writing Ethnographic Fieldnotes" publised by University of Chicago Press, which Professor Graham M. Jones of Massachusetts Institute of Technology (MIT) Department of Anthropology recommended during his graduate course, 21A.819 Ethnographic Research Methods.
Ethnographers place significant emphasis on writing as their core craft. For instance, fieldnotes serve as a powerful tool, offering nuanced and multi-layered insights into the lives, routines, and meanings of the people being studied (P17). As Geertz (1973) noted, the essence of ethnographic "thick description" lies in the detailed portrayal of "inscription."
One particular aspect I enjoy is Chapter Six, which delves into the art of coding. This chapter explores both open coding (P175) and focused coding (P191). I am fascinated by the open coding part, which resonates with the divergent phase of the design process.
Researchers engage in the intricate task of identifying codes, discerning patterns, clustering groups and sub-groups, and synthesizing their learnings and results. This qualitative, evidence-driven approach demands considerable time, effort, and researchers’ expertise and experiences.
Moreover, learning how to code collectively by applying computer-assisted qualitative data analysis software (CAQDAS) is critical. This becomes even more critical now, given the enhanced capabilities of AI-powered coding functions, which have rendered these resources indispensable.
I brought the book with me to Budapest, a city I believe will spark the creative interest of design researchers and ethnographers.
I have a deep fascination with ethnographic research. Ethnography serves as an invaluable approach for understanding and describing social worlds, drawing from the rich theories of symbolic interaction and ethnomethodology (P2). The primary objective of an ethnographer is not to uncover a single "truth" or provide a definitive solution, but rather to unveil the myriad truths and possibilities that exist within others' lives.
Ethnography research wields a profound influence over design research. While I initially honed my design research skills during my industry experience at IDEO and Design Continuum, I consider myself fortunate to continually learn, relearn, and unlearn design research through the lens of ethnography. One influential resource that came my way was the book "Writing Ethnographic Fieldnotes" publised by University of Chicago Press, which Professor Graham M. Jones of Massachusetts Institute of Technology (MIT) Department of Anthropology recommended during his graduate course, 21A.819 Ethnographic Research Methods.
Ethnographers place significant emphasis on writing as their core craft. For instance, fieldnotes serve as a powerful tool, offering nuanced and multi-layered insights into the lives, routines, and meanings of the people being studied (P17). As Geertz (1973) noted, the essence of ethnographic "thick description" lies in the detailed portrayal of "inscription."
One particular aspect I enjoy is Chapter Six, which delves into the art of coding. This chapter explores both open coding (P175) and focused coding (P191). I am fascinated by the open coding part, which resonates with the divergent phase of the design process.
Researchers engage in the intricate task of identifying codes, discerning patterns, clustering groups and sub-groups, and synthesizing their learnings and results. This qualitative, evidence-driven approach demands considerable time, effort, and researchers’ expertise and experiences.
Moreover, learning how to code collectively by applying computer-assisted qualitative data analysis software (CAQDAS) is critical. This becomes even more critical now, given the enhanced capabilities of AI-powered coding functions, which have rendered these resources indispensable.
I brought the book with me to Budapest, a city I believe will spark the creative interest of design researchers and ethnographers.
The Life-Centred Design Guide
January 9, 2024
While on my way to Europe for a short winter break, my flight was delayed due to a winter storm. Fortunately, this delay gave me extra time to read the book "The Life-Centred Design Guide" by Damien Lutz.
Life-centred design encompasses a wide array of aspects, and its complexity is reflected in the various frameworks it employs. Lutz integrates Sustainable Development Goals (SDGs) and Environmental, Social, and Corporate Governance (ESG) into the life-centred design process, conveying a crucial message—it's a series of complex systemic approaches. The concept of life-centered design can be traced back to Papanek's book "Design For The Real World" in 1985. Papanek recognized the challenge of aligning individual values with employment choices and urged designers to decide whether they stand on the side of social impact or not based on what they choose to design for (P248).
Lutz mentioned that life-centred design involves stakeholders from three major groups, with human-centered design's target users and business stakeholders positioned at the core, including all humans, all animals, and all planetary resources and ecosystems. The intricate web of stakeholders, coupled with various future scenarios—utopia, protopia, and dystopia—and potentials—from preposterous to possible, plausible, probable, and projected (P126)—activated the emergence concept of pluriversal design.
Pluriversal design represents a social innovation practice that recognizes diverse ways of existence, seeks to rectify injustices perpetuated through design, and fosters community-based alternatives that embrace the multiplicity of life experiences we can collectively achieve (P81). In the context of pluriversal design, I am intrigued by the idea of "Invisible Human," which contemplates the individuals and communities not directly involved in the product lifecycle but profoundly impacted by it. For instance, it enables me to rethink the role of people (invisible humans) within each touchpoint of the supply chain system (P63).
Life-centred design is a critical subject that encourages us to reconsider design and design solutions in general, shifting our focus from "doing less harm" to "doing more good" (P67). It challenges us to transform from "creating more systems of systems" to "building a value web with meaningful connections.” Particularly conducting audits of the environmental, social, and economic impacts of a product is essential to identify key areas for improvement (P73). We should firmly believe that small changes accumulate to make a positive impact over time (P244). Furthermore, we should purposefully and carefully leverage past perspectives and learnings to inform our future considerations (P235).
While on my way to Europe for a short winter break, my flight was delayed due to a winter storm. Fortunately, this delay gave me extra time to read the book "The Life-Centred Design Guide" by Damien Lutz.
Life-centred design encompasses a wide array of aspects, and its complexity is reflected in the various frameworks it employs. Lutz integrates Sustainable Development Goals (SDGs) and Environmental, Social, and Corporate Governance (ESG) into the life-centred design process, conveying a crucial message—it's a series of complex systemic approaches. The concept of life-centered design can be traced back to Papanek's book "Design For The Real World" in 1985. Papanek recognized the challenge of aligning individual values with employment choices and urged designers to decide whether they stand on the side of social impact or not based on what they choose to design for (P248).
Lutz mentioned that life-centred design involves stakeholders from three major groups, with human-centered design's target users and business stakeholders positioned at the core, including all humans, all animals, and all planetary resources and ecosystems. The intricate web of stakeholders, coupled with various future scenarios—utopia, protopia, and dystopia—and potentials—from preposterous to possible, plausible, probable, and projected (P126)—activated the emergence concept of pluriversal design.
Pluriversal design represents a social innovation practice that recognizes diverse ways of existence, seeks to rectify injustices perpetuated through design, and fosters community-based alternatives that embrace the multiplicity of life experiences we can collectively achieve (P81). In the context of pluriversal design, I am intrigued by the idea of "Invisible Human," which contemplates the individuals and communities not directly involved in the product lifecycle but profoundly impacted by it. For instance, it enables me to rethink the role of people (invisible humans) within each touchpoint of the supply chain system (P63).
Life-centred design is a critical subject that encourages us to reconsider design and design solutions in general, shifting our focus from "doing less harm" to "doing more good" (P67). It challenges us to transform from "creating more systems of systems" to "building a value web with meaningful connections.” Particularly conducting audits of the environmental, social, and economic impacts of a product is essential to identify key areas for improvement (P73). We should firmly believe that small changes accumulate to make a positive impact over time (P244). Furthermore, we should purposefully and carefully leverage past perspectives and learnings to inform our future considerations (P235).
The Upside of Aging: How Long Life Is Changing the World of Health, Work, Innovation, Policy, and Purpose
January 7, 2024
"Aging is not lost youth, but a new stage of opportunity and strength," Betty Friedan once wisely remarked.
I had the pleasure of reading the book "The Upside of Aging: How Long Life Is Changing the World of Health, Work, Innovation, Policy, and Purpose," edited by Paul H. Irving, Former President of Milken Institute, last November.
This book compiles the insights, research, and perspectives of various scholars, educators, and entrepreneurs on the subject of aging across academics and industries. With the emergence of longevity economics (P2), there arises a pressing need for the adaptation and upgrading of many social-technological infrastructures to accommodate the transformative impact of descriptive demographics, indicating what is "new business of old age" (P51). Specifically, within the context of longevity economics, it is imperative to redefine "old age" not as a period of decline but as a new journey marked by empowerment and excitement (P21). In essence, "old" should be synonymous with re-engagement rather than retirement (P61).
Dr. Joe Coughlin, Director and Founder of MIT AgeLab, has introduced a valuable and insightful framework known as "Mapping Innovation Marks in an Aging Society" (P55). This framework categorizes markets into four primary sections: support markets, enabling markets, lifestyle markets, and social impact markets. It promotes the new concept of aging across various "spans," including life span, health span, and wealth span, which are associated with different types of markets (P21). Dr. Coughlin's perspective encourages us to celebrate, embrace, and invent the concept of longevity (P61), thus shaping a distinctive and comprehensive retirement ecology (P214) tailored to individual desires and needs.
"Aging is not lost youth, but a new stage of opportunity and strength," Betty Friedan once wisely remarked.
I had the pleasure of reading the book "The Upside of Aging: How Long Life Is Changing the World of Health, Work, Innovation, Policy, and Purpose," edited by Paul H. Irving, Former President of Milken Institute, last November.
This book compiles the insights, research, and perspectives of various scholars, educators, and entrepreneurs on the subject of aging across academics and industries. With the emergence of longevity economics (P2), there arises a pressing need for the adaptation and upgrading of many social-technological infrastructures to accommodate the transformative impact of descriptive demographics, indicating what is "new business of old age" (P51). Specifically, within the context of longevity economics, it is imperative to redefine "old age" not as a period of decline but as a new journey marked by empowerment and excitement (P21). In essence, "old" should be synonymous with re-engagement rather than retirement (P61).
Dr. Joe Coughlin, Director and Founder of MIT AgeLab, has introduced a valuable and insightful framework known as "Mapping Innovation Marks in an Aging Society" (P55). This framework categorizes markets into four primary sections: support markets, enabling markets, lifestyle markets, and social impact markets. It promotes the new concept of aging across various "spans," including life span, health span, and wealth span, which are associated with different types of markets (P21). Dr. Coughlin's perspective encourages us to celebrate, embrace, and invent the concept of longevity (P61), thus shaping a distinctive and comprehensive retirement ecology (P214) tailored to individual desires and needs.
Where must design go next?
January 2, 2024
I had the pleasure of finishing a captivating read on the first day of 2024, "Where must design go next?" edited by Professor Jarrett Fuller and published by ORO Editions. This concise yet insightful document emerged from interviews with 11 designers and design educators at IIT Institute of Design, leading to the formulation of six thought-provoking and impactful questions: How does one embark on the journey to become a designer? How can design be taught for the future? What if human-centered design doesn't suffice? Why is the design discourse so frequently centered around complexity? How can design create the most significant impact? And where should design's path lead next?
These powerful yet accessible dialogues, rooted in the lived experiences of these individuals, served as an inspiration and reflection. They demonstrated how the application of creativity and research processes could contextualize design within complex, interdisciplinary, cross-disciplinary, and transdisciplinary systems and services. This, in turn, enabled the reframing, prototyping, and resolution of intricate social-technological challenges. Their insights echoed the sentiments of Professor Carlos Teixeira, who suggested that design possesses the ability to comprehend both the whole and its intricacies (P48).
Dean and Professor Anijo Mathew contributed his provocative perspective on "Design+ The New Normal," emphasizing that design, when combined with allied fields, has the potential to create even more value than design operating in isolation (P83). This underscored the significance of critical thinking and collaboration, aligning with Professor Ruth Schmidt's philosophy that being a good designer requires being a proficient critical thinker (P45). It serves as a reminder to designers of the importance of shifting our communication approach from being form-driven to intent-driven, as advocated by Professor Tomoko Ichikawa (P19).
I had the pleasure of finishing a captivating read on the first day of 2024, "Where must design go next?" edited by Professor Jarrett Fuller and published by ORO Editions. This concise yet insightful document emerged from interviews with 11 designers and design educators at IIT Institute of Design, leading to the formulation of six thought-provoking and impactful questions: How does one embark on the journey to become a designer? How can design be taught for the future? What if human-centered design doesn't suffice? Why is the design discourse so frequently centered around complexity? How can design create the most significant impact? And where should design's path lead next?
These powerful yet accessible dialogues, rooted in the lived experiences of these individuals, served as an inspiration and reflection. They demonstrated how the application of creativity and research processes could contextualize design within complex, interdisciplinary, cross-disciplinary, and transdisciplinary systems and services. This, in turn, enabled the reframing, prototyping, and resolution of intricate social-technological challenges. Their insights echoed the sentiments of Professor Carlos Teixeira, who suggested that design possesses the ability to comprehend both the whole and its intricacies (P48).
Dean and Professor Anijo Mathew contributed his provocative perspective on "Design+ The New Normal," emphasizing that design, when combined with allied fields, has the potential to create even more value than design operating in isolation (P83). This underscored the significance of critical thinking and collaboration, aligning with Professor Ruth Schmidt's philosophy that being a good designer requires being a proficient critical thinker (P45). It serves as a reminder to designers of the importance of shifting our communication approach from being form-driven to intent-driven, as advocated by Professor Tomoko Ichikawa (P19).
The Human Side of Innovation: The Power of People In Love with People
December 16, 2023
I bought Mauro Porcini’s book—The Human Side of Innovation: The Power of People In Love with People—published by Berrett-Koehler Publishers last year before Christmas. Finally have time this weekend to read it. The book covers wisdom from his design journey personally and professionally as an enlightened leader.
He generously shared his thoughts, reflections, and emotions through many channels, including his social media, and podcast—In Your Shoes With Mauro Porcini. He hoped his words, stories, experiences, and ideas could inspire thousands of other people without the purpose of commercial goals or personal interests. It is driven by his pure gratitude for the value he believed in (P63).
For him, value is what drives someone to invest time, creativity, and intellect in creating and sharing a message about a product or an experience (P64). Value always goes with services and experiences. He mentioned, “Experiences were not generated for themselves; indeed, we always obsessed over the business relevance of our ideas in the eye of our customers (P80).”
What makes me impressed is that Porcini proposed the concept of a strategy with empathy and should begin a strategy by prototyping ideas (P89). It aligns with his great vision that he believes a journey is made out of many intentional or unintentional attempts (P69) and collaborating with people in love with people.
I bought Mauro Porcini’s book—The Human Side of Innovation: The Power of People In Love with People—published by Berrett-Koehler Publishers last year before Christmas. Finally have time this weekend to read it. The book covers wisdom from his design journey personally and professionally as an enlightened leader.
He generously shared his thoughts, reflections, and emotions through many channels, including his social media, and podcast—In Your Shoes With Mauro Porcini. He hoped his words, stories, experiences, and ideas could inspire thousands of other people without the purpose of commercial goals or personal interests. It is driven by his pure gratitude for the value he believed in (P63).
For him, value is what drives someone to invest time, creativity, and intellect in creating and sharing a message about a product or an experience (P64). Value always goes with services and experiences. He mentioned, “Experiences were not generated for themselves; indeed, we always obsessed over the business relevance of our ideas in the eye of our customers (P80).”
What makes me impressed is that Porcini proposed the concept of a strategy with empathy and should begin a strategy by prototyping ideas (P89). It aligns with his great vision that he believes a journey is made out of many intentional or unintentional attempts (P69) and collaborating with people in love with people.
Design for a Better World: Meaningful, Sustainable, Humanity Centered
November 16, 2023
I enjoyed reading Don Norman’s latest book—Design for a Better World: Meaningful, Sustainable, Humanity Centered—published by MIT Press on a short academic trip to Taipei City. As usual, Don’s keen and insightful observation and broad knowledge of design, technology, and society always give me thought-provoking brain spaces to push my design boundaries. His years of in-depth reflections, life experiences, and academic research have made the content of the book rich, compelling, and personal. I don’t know how to and don’t need to summarize the whole book, since each chapter represents different and integral aspects of design through a humanity lens.
In addition, I was especially impressed by his unique perspectives on the transformational shift from Human-Centered Design (HCD) to Humanity-Centered Design, and he further explained the differences between the two by proposing five design principles/considerations and relevant case studies (p182).
Our understanding of HCD emerged in the 1980s contributing to designers’ roles to make them focus on tailor-made design solutions for users as well as preparing for mass production of products during the era of industrialization (p17). People expected the ideal design flows and solutions should follow a sort of standardized process considering human factors, manufacturing cost, marketing needs, business values, distribution strategies, and short-term effects (p84).
Whereas the concept of applying Humanity-Centered Design is to care not only for people but also all living things with their relevant interconnected sustainable systems (p183). The short-term results still matter to the industries. Still, the emphasis of the public, enterprise, and our societies will be on building long-term goals and life-centered design connecting with positive social impact (p83, p299).
I enjoyed reading Don Norman’s latest book—Design for a Better World: Meaningful, Sustainable, Humanity Centered—published by MIT Press on a short academic trip to Taipei City. As usual, Don’s keen and insightful observation and broad knowledge of design, technology, and society always give me thought-provoking brain spaces to push my design boundaries. His years of in-depth reflections, life experiences, and academic research have made the content of the book rich, compelling, and personal. I don’t know how to and don’t need to summarize the whole book, since each chapter represents different and integral aspects of design through a humanity lens.
In addition, I was especially impressed by his unique perspectives on the transformational shift from Human-Centered Design (HCD) to Humanity-Centered Design, and he further explained the differences between the two by proposing five design principles/considerations and relevant case studies (p182).
Our understanding of HCD emerged in the 1980s contributing to designers’ roles to make them focus on tailor-made design solutions for users as well as preparing for mass production of products during the era of industrialization (p17). People expected the ideal design flows and solutions should follow a sort of standardized process considering human factors, manufacturing cost, marketing needs, business values, distribution strategies, and short-term effects (p84).
Whereas the concept of applying Humanity-Centered Design is to care not only for people but also all living things with their relevant interconnected sustainable systems (p183). The short-term results still matter to the industries. Still, the emphasis of the public, enterprise, and our societies will be on building long-term goals and life-centered design connecting with positive social impact (p83, p299).
A Long Bright Future
October 26, 2023
In the midst of preparing all the statement writing for faculty positions and doctoral experiments, I finally can steel some time to read this book: A Long Bright Future by Prof. Laura Carstensen, Founding Director of Stanford Center on Longevity.
The book is about longevity science and Prof. Carstensen’s academic research experiences with examples and her personal stories. I am inspired by what she explained about the term longevity science: it is a collaborative, interdisciplinary approach to resolving the difficulties and questions posed by a scenario in which most people not only reach old age, but live decades beyond the touchpoint of sixty-five (p186).
Even though we consider aging is like a systemic breakdown of the body (p189), there are many other positive and constructive ways to extend our physical, psychological, and cognitive well-being. For example, how we strategically establish three critical relationships in our lives: marriage, family time, and grandparenting (p117), and how we change our perception about the career: freedom from work or freedom to work (p90).
Aging happens every day in every second. Can we age gracefully?
In the midst of preparing all the statement writing for faculty positions and doctoral experiments, I finally can steel some time to read this book: A Long Bright Future by Prof. Laura Carstensen, Founding Director of Stanford Center on Longevity.
The book is about longevity science and Prof. Carstensen’s academic research experiences with examples and her personal stories. I am inspired by what she explained about the term longevity science: it is a collaborative, interdisciplinary approach to resolving the difficulties and questions posed by a scenario in which most people not only reach old age, but live decades beyond the touchpoint of sixty-five (p186).
Even though we consider aging is like a systemic breakdown of the body (p189), there are many other positive and constructive ways to extend our physical, psychological, and cognitive well-being. For example, how we strategically establish three critical relationships in our lives: marriage, family time, and grandparenting (p117), and how we change our perception about the career: freedom from work or freedom to work (p90).
Aging happens every day in every second. Can we age gracefully?
Service Design for Urban Commons
October 17, 2023
On my way back from IASDR 2023 in Milan to Cambridge, Massachusetts, last week, I read and enjoyed this academic writing: Service Design for Urban Commons written by Anna Meroni, Deputy Dean and Professor of School of Design at Politecnico di Milano, and Daniela Selloni, Professor of Product Service System Design at School of Design, Politecnico di Milano.
The authors proposed a service design planning process diagram (P76). I think it is a very useful framework to analyze and synthesize a typical service design project through the lens of three stages: understanding, designing, and delivering combined with five phases: discover, interpret, ideate, develop, and implement. The diamond-shaped structure reminds us the creative process is a convergent and divergent journey.
The notion of “commons” is a new term to me. From the authors' explanation, the idea of “commoning” is discussed as a process that requires participation, takes place in a specific local space, and continues over time (P3). The new commons are categorized by Hens (2008), including Cultural Commons, Neighbourhood Commons, Infrastructure Commons, Knowledge Commons, Medical and Health Commons, Market Commons, and Global Commons (P4).
As for urban commons, it can specifically consider the perspective of the ‘immaterial’ dimension, such as power, culture, experience, policy, and many other intangible elements, which are shared with the participatory practice of communities and the rational nature of services. Thus it might generate a series of interesting challenges, such as how co-design contributes to the design of the commons, the connection with the concept of commoning (P11), the relationship between participatory design, urban planning, architecture, and service systems, and how participatory design response to the principle of ‘new common’ (P19).
On my way back from IASDR 2023 in Milan to Cambridge, Massachusetts, last week, I read and enjoyed this academic writing: Service Design for Urban Commons written by Anna Meroni, Deputy Dean and Professor of School of Design at Politecnico di Milano, and Daniela Selloni, Professor of Product Service System Design at School of Design, Politecnico di Milano.
The authors proposed a service design planning process diagram (P76). I think it is a very useful framework to analyze and synthesize a typical service design project through the lens of three stages: understanding, designing, and delivering combined with five phases: discover, interpret, ideate, develop, and implement. The diamond-shaped structure reminds us the creative process is a convergent and divergent journey.
The notion of “commons” is a new term to me. From the authors' explanation, the idea of “commoning” is discussed as a process that requires participation, takes place in a specific local space, and continues over time (P3). The new commons are categorized by Hens (2008), including Cultural Commons, Neighbourhood Commons, Infrastructure Commons, Knowledge Commons, Medical and Health Commons, Market Commons, and Global Commons (P4).
As for urban commons, it can specifically consider the perspective of the ‘immaterial’ dimension, such as power, culture, experience, policy, and many other intangible elements, which are shared with the participatory practice of communities and the rational nature of services. Thus it might generate a series of interesting challenges, such as how co-design contributes to the design of the commons, the connection with the concept of commoning (P11), the relationship between participatory design, urban planning, architecture, and service systems, and how participatory design response to the principle of ‘new common’ (P19).
Do it, with Love: 100 Creative Essentials
September 5, 2023
Try to grasp a piece of advice, wisdom, and inspiration from many books, people's facial expressions, life-relevant conversations, and the frustration yet excitement generated from a series of complex and challenging social-technological design projects.
Right after finishing my Ph.D. qualify written exam last week at Massachusetts Institute of Technology (MIT), I read this lovely tiny book: Do it, with Love: 100 Creative Essentials by Frank Bodin. It’s an inspiring portable book that perfectly reenergizes your heart and brain for a moment of self-reflection and break.
Try to grasp a piece of advice, wisdom, and inspiration from many books, people's facial expressions, life-relevant conversations, and the frustration yet excitement generated from a series of complex and challenging social-technological design projects.
Right after finishing my Ph.D. qualify written exam last week at Massachusetts Institute of Technology (MIT), I read this lovely tiny book: Do it, with Love: 100 Creative Essentials by Frank Bodin. It’s an inspiring portable book that perfectly reenergizes your heart and brain for a moment of self-reflection and break.
The Call Forward: A companion guide for modern leaders
August 22, 2023
In the mid of preparing for my Ph.D. qualify exam at MIT, I finally have some in-between time to read the book—The Call Forward: A companion guide for modern leaders—published by SYPartners. The book collected interviews with industry leaders from creative fields, such as Tina Roth Eisenberg, CEO and Founder of Creativemornings, Ivy Ross, VP, Head of Design Hardware Products at Google, and Kat Holmes, Chief Design Officer and Executive Vice President at Salesforce to explore and discuss climate action, envisioning the future working experiences, equity and inclusion, and the roles and responsibilities as leaders in organizations.
I especially like the way they reframe the shifting of how we work: 1) on guidance: from answer to agency, 2) on policy: from one-size-fits-all to customized, 3) on communication: from limited one-way to continuous two-way, 4) on productivity: from quantity to quality, and 5) on leadership: from centralized to distributed.
I am trying to summarize the learnings right after finishing this book, but I realized it’s less about coming up with key takeaways, it’s more about how we elevate and adapt our personal experience to enhance our empathy and leadership skills. Great leaders re-design their roles, since they've evolved and transformed through time.
In the mid of preparing for my Ph.D. qualify exam at MIT, I finally have some in-between time to read the book—The Call Forward: A companion guide for modern leaders—published by SYPartners. The book collected interviews with industry leaders from creative fields, such as Tina Roth Eisenberg, CEO and Founder of Creativemornings, Ivy Ross, VP, Head of Design Hardware Products at Google, and Kat Holmes, Chief Design Officer and Executive Vice President at Salesforce to explore and discuss climate action, envisioning the future working experiences, equity and inclusion, and the roles and responsibilities as leaders in organizations.
I especially like the way they reframe the shifting of how we work: 1) on guidance: from answer to agency, 2) on policy: from one-size-fits-all to customized, 3) on communication: from limited one-way to continuous two-way, 4) on productivity: from quantity to quality, and 5) on leadership: from centralized to distributed.
I am trying to summarize the learnings right after finishing this book, but I realized it’s less about coming up with key takeaways, it’s more about how we elevate and adapt our personal experience to enhance our empathy and leadership skills. Great leaders re-design their roles, since they've evolved and transformed through time.
Can You Feel It?: Effectuating Tactility and Print in the Contemporar
August 18, 2023
I recently read and got inspired by this portable book—Can You Feel It?: Effectuating Tactility and Print in the Contemporary edited by Freek Lomme and published by Set Margins. Trained as a product and industrial designer, the desire of creating or having physical objects never fades.
Esther Krop observed that since our daily lives are full of digital devices and experiences cause most of our feeling and other sensors are missing that lack rich perceptions, such as tactile qualities people care about various textures of products, the weight of holding, different smoothness of surfaces, or the motion of curves and planes.
AR, VR, and XR are no longer emerging technologies and have already filled out our lives such as the way we engage and communicate with others. What are the new interpretations and applications for tangible objects? Physical stimuli are hard to be replaced. As human beings, Marieke Sonneveld considered that touch can be considered a full-body experience, echoing Lomme’s idea that tactility can be viewed as a physical sensation with a mental experience.
There are debates about the pros and cons of applying different immersive media and technologies for multiple purposes and motivations, but the intention is how we curate and create better, respectful, and meaningful experiences for users and with users.
I recently read and got inspired by this portable book—Can You Feel It?: Effectuating Tactility and Print in the Contemporary edited by Freek Lomme and published by Set Margins. Trained as a product and industrial designer, the desire of creating or having physical objects never fades.
Esther Krop observed that since our daily lives are full of digital devices and experiences cause most of our feeling and other sensors are missing that lack rich perceptions, such as tactile qualities people care about various textures of products, the weight of holding, different smoothness of surfaces, or the motion of curves and planes.
AR, VR, and XR are no longer emerging technologies and have already filled out our lives such as the way we engage and communicate with others. What are the new interpretations and applications for tangible objects? Physical stimuli are hard to be replaced. As human beings, Marieke Sonneveld considered that touch can be considered a full-body experience, echoing Lomme’s idea that tactility can be viewed as a physical sensation with a mental experience.
There are debates about the pros and cons of applying different immersive media and technologies for multiple purposes and motivations, but the intention is how we curate and create better, respectful, and meaningful experiences for users and with users.
The AgeTech Revolution: A Book about the Intersection of Aging and Technology
August 12, 2023
Recently finished reading The AgeTech Revolution: A Book about the Intersection of Aging and Technology by Keren Etkin. Aging in place has been an increasingly popular concept that influences how we reshape an AgeTech city in interns of policies, cultures, transportation, and various social infrastructure and aspects. Because of the complexity of building an AgeTech city, we need to consider not only testing the usability of the tech products and services, understanding and identifying the desirability of users, communities, and other key stakeholders, but also creating meaningful and respectful partnerships and solid business models with ritual and cultures to solve these complicated, systemic, and difficult social-technical challenges (P128).
Etkin mentioned the importance of "reskills" that are associated with retirement, since it can affect the perception of how we understand retirement and the skills we need to rebuild or acquire. The concept of "stage not age" matters. Etkin also emphasized the trap of validating the problems and also validating the solutions (P110). Especially the essence is to build for desirability for and with older adults, not just the usability of products and services (P117). One great example of “not” considering desirability is that Dr. Joe Coughlin, Founder and Director of MIT AgeLab, discussed the appearance of some of the most commonly used tech solutions for older adults: personal emergency response systems (PERS, aka medical alarms) and it easily became 'BBB': big, beige, and boring (P118). As a designer, we should keep reminding ourselves: what are the core needs of people? and what are the design intentions that associate with people's behavior? I believe no one wants to purchase objects or services tagging "older-adults products".
More info about my reflection on the topic:
Building an AgeTech City: Services, Community, and Technology
https://designwanted.com/agetech-city-services-community-technology/
Recently finished reading The AgeTech Revolution: A Book about the Intersection of Aging and Technology by Keren Etkin. Aging in place has been an increasingly popular concept that influences how we reshape an AgeTech city in interns of policies, cultures, transportation, and various social infrastructure and aspects. Because of the complexity of building an AgeTech city, we need to consider not only testing the usability of the tech products and services, understanding and identifying the desirability of users, communities, and other key stakeholders, but also creating meaningful and respectful partnerships and solid business models with ritual and cultures to solve these complicated, systemic, and difficult social-technical challenges (P128).
Etkin mentioned the importance of "reskills" that are associated with retirement, since it can affect the perception of how we understand retirement and the skills we need to rebuild or acquire. The concept of "stage not age" matters. Etkin also emphasized the trap of validating the problems and also validating the solutions (P110). Especially the essence is to build for desirability for and with older adults, not just the usability of products and services (P117). One great example of “not” considering desirability is that Dr. Joe Coughlin, Founder and Director of MIT AgeLab, discussed the appearance of some of the most commonly used tech solutions for older adults: personal emergency response systems (PERS, aka medical alarms) and it easily became 'BBB': big, beige, and boring (P118). As a designer, we should keep reminding ourselves: what are the core needs of people? and what are the design intentions that associate with people's behavior? I believe no one wants to purchase objects or services tagging "older-adults products".
More info about my reflection on the topic:
Building an AgeTech City: Services, Community, and Technology
https://designwanted.com/agetech-city-services-community-technology/
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