Ambidextrous - Best Of

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! $ESIGNER°S #ALL TO !RMS 7E°VE SCREWED UP .OW IT°S TIME TO REDESIGN OUR FUTURE BY -IKE ,IN 4HE 0RESENT 0EOPLE WE HAVE A PROBLEM

4HE 0AST %CO FRIENDLY DIDN°T CUT IT We’ve been settling for second best for too long—too often do “ecological,â€? “green,â€? or “sustainableâ€? products fall short in function and design. Despite good intentions, such token products as ineffective natural cleaners; dim compact-fluorescent light bulbs; and coarse hemp garments reinforce stereotypes of inferior quality and inconvenience. Mediocre products cause more harm than good; their disappointing functionality and lackluster design alienate the general public and fail to resonate with the broader audience needed to effect real, mainstream change. How could these dysfunctional solutions and underwhelming experiences ever inspire a cultural shift? They’re a liability to our future. 4HE &UTURE ! NEW DESIGN MOVEMENT Design often grapples with the most important questions of the day. Thus going forward, we need a new design directive, a new philosophy, and a new culture. We need to inspire a shift in which society not only values economic efficiency, functional simplicity, and refinement in form—but also deeper, intangible emotions. Imagine a culture whose aesthetic sensibility combines social justice and environmental elegance in such a way that they’re not even noticeable. Imagine a consumer who not only loves a car, laptop, or MP3 player but also delights in the knowledge that it is ethically produced and decomposes as easily as it was created without sacrificing functionality for those traits. Imagine a landscape free of the ills of industry that still benefits from all of humanity’s greatest advancements. This is our future—but it’s slipping away. Design is a method of action: We need to learn from our mistakes and create solutions. We need to futureproof our products, our processes, and our built environment to ensure a healthy and livable future. #HANGE IS ALREADY HAPPENING We are entering into a Prius-equipped, local, organic, Inconvenient Truth era. A hunger for new solutions is growing. Consumers are calling for a secure, healthy, and livable future. You are this movement. Answer this call.

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Ambidextrous Spring Forward 2007

&UTUREPROO¸NG MEANS „ !CCEPT THE CHALLENGE 0ROVE THAT ECOLOGICALLY INTELLIGENT SOLUTIONS WORK „ "UT ¸RST BREAK THE STEREOTYPE %CO FRIENDLY PRODUCTS SHOULDN°T REQUIRE SACRI¸CE 4HEY NEED NOT BE EXPENSIVE EARTH TONED OR OF INFERIOR QUALITY „ !PPROACH DESIGN FOR THE FUTURE WITH OPTIMISM AND PLAYFULNESS .OTHING BREEDS CONTEMPT LIKE PREACHING ¸RE AND BRIMSTONE „ !PPEAL TO HIPPIES AND HIPSTERS ALIKE 4URN THE CULTURE CLASH AROUND AND MAKE HEALTHY DESIGN FOR ALL „ 'O AGAINST CONVENTIONAL WISDOM „ 7HILE DESIGNING COLLABORATE WITH EVERYONE $ESIGNERS CAN°T DO IT ALONE „ #REATE MULTIPLE OPTIONS THAT ARE OBVIOUS INTUITIVE AND GUILT FREE „ %MPOWER THE USER TO DECIDE WHAT WORKS BEST „ 4HINK ON A SYSTEMS LEVEL BUT STILL CONSIDER THE DETAILS „ 0AY IT FORWARD 5SE YOUR DESIGN AND POSITIVE USER EXPERIENCES TO INSPIRE OTHERS TO CHANGE AND INNOVATE „ $ESIGN MEDIAGENIC SOLUTIONS THAT ATTRACT PRESS ATTENTION 4HIS IS NO TIME TO BE SHY #ARRY YOUR IDEAS FAR AND WIDE

Photo by Lora Oehlberg

The jury is in: Our air, soil, and water are polluted. We’ve exploited every natural resource imaginable, including human labor. We are royally screwed. Thus, a call to action for a new design movement. This is not a political statement; it’s not about left or right. Rather, it’s an ethical and moral obligation. We face a challenge to reshape industry, business, and culture to ensure for ourselves a healthy and livable future. In short, we’ve made some serious mistakes. We need to redesign our future.

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M ATER I AL

$ISAPPEARING !CT BY "LAINE "ROWNELL

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fundamental counter-trend in materialism has emerged from a resent surge of interest in new materials for architecture and design—materials are slowly‌disappearing. I’m not referring to some science fiction fantasy a la “Invasion of the Material Snatchersâ€?, but rather the technological trends leading to increased strength-toweight ratios and light-transmittance. This tendency toward dematerialization is rooted in the natural trajectory of technology itself—to maximize efficiency, miniaturize, and do more with less—coupled with an intriguing socio-environmental phenomenon of increased transparency in the physical environment. This “de-solidificationâ€? reflects both the public desire for increased access and accountability from the outside of commercial and institutional structures and the desire for increased access to light and views from the inside of structures. Looking toward the future, the frontiers of material development are defined by high-performance, exotic materials and composites that shatter previous paradigms about solidity and opacity.

.ANOGEL

,IGHT TRANSMITTING #ONCRETE

The relationship between the historically solid, insulating wall and the light-transmitting, thermallyconductive window has forever changed with the development of Aerogel and its application in the product Nanogel. Now walls can be windows and vice-versa, and the ageold battle between light vs. thermal protection is rendered moot. Aerogel, a translucent insulating material, is the lightest human-made substance known. Its application in the product Nanogel, developed by Cabot Corporation, is a pelletized, nanoporous material that delivers unsurpassed thermal insulation and light transmission. Comprised of quartz particles mixed with 99 percent air, feather-light Nanogel weighs 90 grams per liter. Compared with other insulation materials, Nanogel provides a superior combination of thermal and sound insulation as well as light transmission and diffusion characteristics—just half an inch of the material provides 73 percent light transmission with a solar heat gain coefficient of U = 0.25.

Old notions about solidity are further shattered in new forms of concrete that transmit light. Although these products are similar to those used for decades in conventional building construction, their paradigm-shifting nature is apparent when colleagues ask me, “But is it still concrete?â€? Pixel Panels are the result of Bill Price’s quest to make concrete a light-transmissive medium. Comprised of a uniform array of acrylic rods set within a concrete binder, Pixel Panels provide translucency at a given viewing distance. Adjusting the ratio of concrete-to-polymer provides limitless variations, achieving as much as 25 percent light-transmittance. Ă ron Losonczi has developed another lighttransmitting concrete, Litricon, that utilizes thousands of fine fiber optic strands to carry light, resulting in a high resolution of detail. 4RANSPARENT !LUMINUM “Star Trekâ€? fans will remember the transparent aluminum material used to contain a large aquarium in the movie

.ANOGEL PELLETS TRANSMIT LIGHT AND ACT AS INSULATORS .ANOGEL ¸LLED INSULATED GLAZING UNITS AT THE -ILWAULKEE :OO 46

Ambidextrous Spring Forward 2007

Photos courtesy of Cabot Corporation, Bill Lemke, Frauenhofer IKTS Dresden, and Bill Price, Inc.

Star Trek IV: The Voyage Home, but they may not have realized a similar material would be developed in the Fraunhofer Institute. Transparent alumina ceramics permit unprecedented light-transmittance in a strong and durable medium. The next generation transparent corundum ceramics can be manufactured with complex (even hollow) shapes, and exhibit significant bending strength and microhardness. The in-line transmission of transparent ceramics is close to 60 percent in visible light and approaches the theoretical limit in the infrared range. An even higher visible light transmission of roughly 80 percent at 1 mm thickness is enabled by a new submicrometer spinel. Faceted colored gemstones of about 1.5 carat have been manufactured with a polycrystalline microstructure of transparent ceramics, and filters have been manufactured for optical applications with the same material. Future applications include superstrong, heat-resistant windows and transparent armor. Like Nanogel, transparent ceramics revolutionize

the window as it is conventionally understood with the added dimension of fire- and blast-resistance, ideal for high-hazard applications. /PTICAL #AMOUšAGE While these high-performance, lighttransmitting materials compel us to question the nature of solidity, a new technology developed by the University of Tokyo seeks to make matter disappear altogether. Scientists at the Tachi Laboratory have developed Optical Camouflage, which utilizes a collection of devices working in concert to render a subject invisible. Although more cumbersome and complicated than Harry Potter’s invisibility cloak, this system has essentially the same goal. Clothing—in this case, a hooded jacket—is made with a retro-reflective material comprised of thousands of small beads that reflect light precisely according to the angle of incidence. A digital video camera placed behind the person wearing the cloak captures the scene that the individual would otherwise obstruct and sends the data to a computer for processing. A

program calculates the appropriate distance and viewing angle, and then transmits the scene via projector using a combiner, or a half-silvered mirror with an optical hole. The result is a witness perceives a realistic merger of the projected scene with the background, rendering the cloakwearer invisible. Potential applications of this technology include a process called mutual telexistence. Real-time video of remotely located individuals is projected onto surrogate robotic participants via various methods of removing tool-based optical obstructions. Example uses include vehicles that allow pilots and drivers to see more of their exterior environment than is visible through windows and tools that allow doctors to witness an operation through their hands. When we consider all of these new disruptive materials and technologies, we see the extraordinary extent to which solidity is being questioned. In the words of Marshall Berman, “All that is solid melts into air.�

0IXEL 0ANELS ARE A TRANSLUCENT CONCRETE #OLORED TRANSPARENT CORUNDUM CERAMICS 4RANSPARENT CERAMICS ARE USED IN A LAMP SHIELD Spring Forward 2007 Ambidextrous

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TH IN KI NG

#OOKING ,ESSONS FOR $ESIGNERS BY 2YAN &REITAS

Photos by Mike Pihulic

W

ith careers as an interaction designer and a professional cook (sometimes simultaneously), I’ve noticed striking similarities between the design studio and the kitchen. Like their peers in design, chefs are under constant creative and competitive pressure to execute and innovate. Both professionals service an increasingly savvy customer base in a

landscape where only the tastemakers and trendsetters survive. Three years have passed since my last night in a professional kitchen. While I’ve kept my knives sharp, since then I’ve been flexing other creative muscles: I joined Adaptive Path, a design firm that has flourished as the big brands increasingly embrace user-centered design. My time in the

Sizzling Summer 2007 Ambidextrous

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kitchen shaped how I respond now to challenges in an industry that is dependent on creative services.

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/RDER AND $ISCIPLINE ARE NOT .ATURAL %NEMIES OF #REATIVE 0ROCESSES

There is often a misconception that structure gets in the way of generating new ideas. The kitchen taught me that the creative process thrives under constraint and that a little discipline helps more ideas make it to the table. The most creative of chefs are renowned as much for their food as for the way they run their kitchens. Lisa Lu, the pastry sous chef at Quince in San Francisco, told me that “great restaurants devote themselves to two ideals: consistency and quality.” To safeguard these ideals, chefs oversee staffs under the “brigade system,” so called because of the strict chain of

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Ambidextrous Sizzling Summer 2007

command, uniform, and well-defined role in which each player engages in executing collective creative excellence. Uniforms and shouted orders are likely a hard sell to designers, but I’ve found three other lessons translate well from the kitchen to the design studio.

concept phase generate momentum that carries us swiftly through the design process.

2

Anyone who has worked in a restaurant can tell you about the horror of the staff meal. Overloaded with “real” work, many cooks view the meal for servers and dishwashers as an unrewarded chore. The opposite was true while I was in cooking school, where students were frequently asked to cook for one another. Our chef instructors hammered home the idea that the cooks and staff around us had the potential to be our most appreciative audience. Every staff meal was an opportunity to prove our resourcefulness, commitment, and pride to the people whose reactions we could see and whose feedback we valued.

+EEP 9OUR %YE ON THE #LOCK

Chefs know that the pressure of a ticking clock can inspire cooks to accomplish what seemed impossible at the start of a dinner rush. At Adaptive Path, I advocate “timeboxing”: the setting of artificial time constraints for tasks like brainstorming and issue resolution. The objective is to cut down on exhaustive consideration of endless possibilities. With pressure to stay focused and disciplined, we can reduce the amount of time it takes to reach consensus. More importantly, we have found that decisive choices in the

3

2ECOGNIZE )NTERNAL /PPORTUNITIES FOR #REATIVE &REEDOM

In the design world, internal initiatives often offer more opportunity for employees to engage in creative risk. With the growth of our studio at Adaptive Path, we need new and different infrastructure, tools and concepts. While it is tempting, even prudent, to let these tasks take a backseat to client work, we’ve learned that an internal project offers creative freedom. These occasions are unbound by external requirements and every member of our team is encouraged to take advantage of the opportunity.

4

4RUST NOT JUST THE 'UY WITH THE +NIFE

A chef’s success is dependent upon trusting others to execute his or her unique vision. (I should note that since the people who work in a kitchen are dealing with fire and knives in very tight quarters, their judgment is even

more crucial.) Jason Pringle, executive sous chef at Aqua in San Francisco, shared how he learned to trust the cooks he’s trained: “They’ll keep asking questions over time, because they want to know exactly how to do everything. I like to put it back on them. You’d be surprised how powerful asking, ‘What do you think it needs?’ can be.” Jason’s method points to a larger truth: Told what to do, his cooks won’t develop the critical faculties that they’ll need in order to be chefs. Jason pushes them, challenging them to be better and to trust themselves and each other. Ultimately, he trusts his cooks because he has seen them confront and resolve ambiguity. “By the time they tackle challenging dishes,” he told me, “I can trust them to experiment the next time. So long as they don’t destroy a quarterpound of white truffles.”

In the design studio, we open up our work in weekly all-staff reviews. Designers explain their decisions, walk through their individual processes, and even expose biasing presumptions. Opening up our workflow to each other has proved invaluable, not only because it reveals the methods of our peers and lets us learn from their experiences, but because it creates confidence in the soundness of our coworkers’ decisions. Ultimately, I’m convinced that these lessons that I learned first in the kitchen—the importance of order, time limitations, creative freedom, and trust—can improve the quality, consistency, and overall chances of achieving success of any creative endeavor, whether in food or in design.

Sizzling Summer 2007 Ambidextrous

45

TH IN K I NG

7HERE $ESIGN IS (EADING 4HE GROWING CONSENSUS AMONG DESIGN EDUCATORS AND ACADEMIC RESEARCHERS BY 4ERRY 7INOGRAD

(OW DO ) THINK DESIGN IS CHANGING ) SEE IT MOVING AWAY FROM A HARDWARE CENTERED FOCUS AND TOWARD EXPERIENCES « "ERNIE 2OTH 4HIS STRUCTURE OF BOUNDED LICENSED PROFESSIONS HAS SERVED FAIRLY EFFECTIVELY TO GUARANTEE COMPETENCE AND INTEGRITY OF PRACTITIONERS IN MARKETS WHERE BUYERS OF DESIGN SERVICES HAVE NO OTHER GOOD WAY TO JUDGE BUT IT IS NOW OBSOLETE AND INCREASINGLY COUNTERPRODUCTIVE /FTEN YOU DON°T KNOW AT THE OUTSET WHETHER THE SOLUTION WILL BE A BUILDING A PIECE OF SOFTWARE A COMMUNICATION SYSTEM SOME COMBINATION OR SOMETHING ELSE ENTIRELY « "ILL -ITCHELL

$ESIGN IS BEING RECOGNIZED AS A DISCIPLINE THAT CAN PLAY A ROLE IN MANY DIFFERENT CONTEXTS¬ FROM DESIGNING BUSINESSES TO DESIGNING ORGANIZATIONS 3ERVICE DESIGN IS EMERGING AS A CRITICAL FORCE

2ATHER THAN BEING DRIVEN BY A MARKET OR BUSINESS BASED BRIEF DESIGNERS CAN LEARN TO WORK AND GAIN POWER FROM A BROADER CULTURAL AND SOCIAL BASE ! CORE ROLE OF DESIGN AS A MUSCULAR OCCUPATION IS AS AN IDENTI¸ER OF OPPORTUNITY SPACES WHERE DESIGN CAN CREATE DELIGHT ELIMINATE PAIN OR INSTANTIATE PROGRESSIVE VALUES THROUGH CULTURAL INTERVENTION « "RENDA ,AUREL

4HE CONTINUING DOMINANCE OF THE CONSULTANCY MODEL FOR DESIGN WORK TURNS DESIGN INTO SERVICE FOR OTHERS AND TRANSFORMS ­HOURS WORKED® INTO THE ECONOMIC CURRENCY )F INSTEAD DESIGNERS FOCUSED MORE ON MAKING THEIR OWN PRODUCTS ON CREATING NEW AND LEADING LEGACY PRODUCT COMPANIES THEN THE FOCUS MOVES TO MAKING GOOD AND SUCCESSFUL THINGS « *OHN :IMMERMAN

#OMPUTATION &ABRICATION #OMPLEXITY 3USTAINABILITY 4HESE ARE WHAT IS CHANGING DESIGN #OMPUTATION HAS OPENED NEW DESIGN SPACES IN THE MIND &ABRICATION OPENS UP NEW LANGUAGES FOR DESIGN¬THE LOGIC OF WHAT IS FEASIBLE CHANGES WHEN COST OF VARIETY IS NEAR THE COST OF STANDARD COMPONENT -ASTERING COMPLEXITY IS CRITICAL IN CONTEMPORARY PRACTICE !ND SUSTAINABILITY IS BECOMING A MAJOR CONSTRAINT ON CHANGE WE SIMPLY CANNOT FOLLOW EXPONENTIAL GROWTH IN IDEAS WITH AN EXPONENTIAL GROWTH IN CONSUMPTION « 2OBERT 7OODBURY

) WOULD SAY THE BIG GOAL IS TO FOSTER THE NEXT GENERATION TO BE NON COMMERCIALLY MINDED IN AN INCREASINGLY COMMERCIALIZED WORLD

« 3HELLEY %VENSON

&OR THE PAST COUPLE OF YEARS WE°VE BEEN STARTING UP AN EXCITING VENTURE IN DESIGN EDUCATION CALLED THE (ASSO 0LATTNER )NSTITUTE FOR $ESIGN AT 3TANFORD KNOWN AS THE ­D SCHOOL® )T IS IMBUED WITH THE SPIRIT OF DESIGN THROUGH ITERATIVE PROTOTYPING AND WE°RE DEVELOPING AND CHANGING OUR IDEAS AS WE GO 7E WANT TO TEACH ­DESIGN THINKING® TO STUDENTS ACROSS A WIDE RANGE OF DISCIPLINES IN AN ACADEMIC SETTING &ROM OUR TALKS WITH MANY OTHER DESIGNERS AND DESIGN EDUCATORS WE KNOW THAT WE ARE FAR FROM ALONE $ESIGN EDUCATION IS IN THE MIDST OF BIG CHANGES PROVOKED NOT JUST BY NEW TECHNOLO GIES AND MEDIA BUT ALSO BY A SHIFTING VIEW OF THE ROLE THAT DESIGN AND DESIGNERS HAVE IN SOCIETY !-")$%842/53 ASKED A FEW PROMINENT DESIGN EDUCA

TORS WHOSE PROGRAMS ARE MOVING IN NEW DIRECTIONS TO MUSE ABOUT THE FUTURE OF DESIGN EDUCATION 7E WERE FASCINATED BY BOTH THE SHARED DIRECTIONS AND DIVERSITY OF VIEWS

32

Ambidextrous Spring Forward 2007

/NE MAJOR ISSUE IS WHETHER DESIGN IS A PROFESSION OR WHETHER IT IS AN ACADEMIC DISCIPLINE WHICH IS WHAT A NUMBER OF DESIGNERS WOULD LIKE 4ODAY THE PART OF DESIGN THAT IS MOST EASILY PASS ACADEMIC MUSTER IS THAT OF CRITICISM AND HISTORY $ESIGN METHODS ! THEORY OF DESIGN ! SCIENCE OF DESIGN 4HERE ARE ¹EDGLING EFFORTS BUT MINISCULE -OSTLY DESIGN IS TAUGHT AS AN ART FORM WITH MENTORS AND STUDIOS )T IS NOT YET AN ACADEMIC DISCIPLINE « $ON .ORMAN 4HE BIG GOAL OF DESIGN RESEARCH AND EDUCATION IS TO DEVELOP REALLY USEFUL GENERAL PRINCIPLES WHERE THEY EXIST AND TO KNOW WHERE THEY DON°T EXIST « "ERNIE 2OTH

« *OHN -AEDA

7HILE THE TYPICAL THEMES FOR DESIGN STUDIOS OF THE S AND S WERE ELITE TOPICS LIKE MUSEUMS AND VILLAS TODAY THE DESIGN OF TOPICS SUCH AS GREEN AND SUSTAINABLE ENVIRONMENTS LOW TECH EMERGENCY SHELTERS FOR REFUGEES MOBILE MICROBANKING ARCHITECTURE FOR THE POOR ARE MOVING TO THE FOREGROUND « *EF (UANG

#URRENTLY DESIGN RESEARCH FOCUSES ON HISTORY CRITICISM AND SOME THEORY 4HESE ARE ALL CRITICALLY IMPORTANT TO THE DESIGN COMMUNITY BUT WE NEED MORE 7E NEED RESEARCH THAT PRODUCES DESIGN EXEMPLARS BECAUSE THIS IS WHAT COMMUNICATES MOST STRONGLY TO THE DESIGN COMMUNITY « *OHN :IMMERMAN

)N ALMOST ALL PROFESSIONS THE NEW IDEAS EMERGE FROM RESEARCH LABS IN GRADUATE SCHOOLS AND ARE THEN TRANSFERRED TO PRACTITIONERS )N GENERAL GRADUATE SCHOOLS OF DESIGN HAVE BEEN AVOIDING THIS ROLE INSTEAD ACTING LIKE ADVANCED UNDERGRADUATE SCHOOLS WHERE THEY END UP TRYING TO CATCH UP TO WHERE THE PROFESSION WAS TEN YEARS AGO 7E NEED TO DEVELOP BOTH DESIGN CRITICISM¬WHAT IS NEEDED TO UNDERSTAND AND INTERPRET PRESENT WAYS OF BEING¬AND CRITICAL DESIGN¬WHAT IS NEEDED TO ENSURE THAT OUR ACTIONS LEAD TO SUSTAINABLE FUTURE WAYS OF BEING

« 0ATRICK 7HITNEY

« %LI "LEVIS

Spring Forward 2007 Ambidextrous

33

7E NEED TO STRESS THE CREATION OF MODELS AND PROTOTYPES AS WAYS OF CODIFYING KNOWLEDGE « *ODI &ORLIZZI

2ESEARCH IS NEEDED IN AREAS LIKE FASTER AND DEEPER WAYS OF DOING USER OBSERVATION A THEORY OF PROTOTYPING THE LINK BETWEEN THE CREATION OF USER VALUE AND ECONOMIC VALUE A THEORY OF INTERACTION DESIGN¬AND THE LIST GOES ON

/NE BIG PROBLEM IS THE GAP BETWEEN THE DESIGNER°S VIEW OF WHAT IS OBVIOUS IN USABILITY AND THE LAYPERSON°S VIEW « "ERNIE 2OTH

)DEAS THAT WERE QUITE RECENTLY SEEN AS RADICAL E G USE OF GREEN MATERIALS SUSTAINABLE METHODS AND SMART ENERGY DESIGN HAVE QUITE SUDDENLY AND WONDERFULLY BECOME MAINSTREAM « "RENDA ,AUREL

« 0ATRICK 7HITNEY 4HE DESIGN STUDIO IS CREATIVE COLLABORATIVE AND MOST OF ALL HIGHLY MATERIAL¬THAT IS THE SPACE IS DOMINATED BY MATERIAL OBJECTS SURFACES FOR SHARING IDEAS AND INSPIRATION MAKING IDEAS AND ACTIVITIES VISIBLE AND TANGIBLE¤;)T= SERVES AS COLLECTIVE MEMORY AND EXTERNAL COGNITION FOR THE DESIGN TEAMS 4HERE IS A BEEHIVE EFFECT IN A FULLY FUNCTIONAL DESIGN STUDIO « %LI "LEVIS

4HE TRADITIONAL BRAINSTORMING TECHNIQUES USED BY )$%/ FOR EXAMPLE REPEATEDLY HAVE BEEN SHOWN TO BE LESS EFFECTIVE THAN MODI¸ED CREATIVE METHODS BUT THIS KNOWLEDGE SEEMS TO REMAIN IN THE HANDS OF THE SCHOLARS AND HAS NOT PASSED INTO THE PROFESSION « $ON .ORMAN )F WE COULD ¸ND GOOD METHODS MEASURES AND WAYS OF COMMUNICATING WE COULD ALL BENE¸T FROM THE RESEARCH 3O MUCH OF THE PROFESSIONAL TIME IS WASTED REINVENTING « 3HELLEY %VENSON

) PREFER THE MODEL OF THE THEATRICAL ENSEMBLE 4EAM MEMBERS ALL HAVE HIGHLY DEVELOPED SKILLS¬THAT°S WHAT GETS THEM A SEAT AT THE TABLE "UT THE SPIRIT IS THAT ANYONE CAN COMMENT ON OR QUESTION ANYTHING NO RESTRICTION TO THEIR ESTABLISHED DOMAINS OF EXPERTISE AND THAT THERE ARE NO OUT OF BOUNDS ­STUPID® QUESTIONS

« *OHN -AEDA

Ambidextrous Spring Forward 2007

3TRATEGIC THINKING AND ENTREPRENEURSHIP ARE BECOMING INCREASINGLY IMPORTANT SKILLS IN THE DESIGN MARKETPLACE « "RENDA ,AUREL $ESIGN ATTAINS ITS HIGHEST VALUE WHEN IT IS UNDERSTOOD TO BE ABOUT ACTS OF INFORMING CHOICES OR CHOOSING AMONG POSSIBLE FUTURE WAYS OF BEING

.OW YOU SEE A FEW OF THE MOST IN¹UENTIAL SCHOOLS DEVELOPING SPECIALTIES OUTSIDE OF THE CONTEXT OF ART )NTERACTION DESIGN STRATEGIC DESIGN HUMAN CENTERED DESIGN AND OTHER THEMES ARE NOW BECOMING VERY IN¹UENTIAL

« %LI "LEVIS

« 0ATRICK 7HITNEY

;7E ARE SEEING= A GENERAL MOVE AWAY FROM A MATERIALS FOCUSED DESIGN EDUCATION SUCH AS A DEGREE IN PRODUCT DESIGN OR COMMUNICATION PRINT DESIGN AND TOWARDS AN EDUCATION FOCUSED ON DESIGN THINKING AS A PROCESS¤$ESIGN SHOULD BECOME A CORE PART OF EVERYONE°S EDUCATION STARTING IN ELEMENTARY SCHOOL « *OHN :IMMERMAN

$ESIGN IS OUR PRIMARY PROCESS FOR CHANGE ! PERPETUAL TENSION IN DESIGN RESEARCH LIES BETWEEN DISCOVERY OF GENERAL TIMELESS CONCEPTS AND APPLICATION TO A CHANGING HERE AND NOW « 2OBERT 7OODBURY $ESIGN AND RESEARCH GIVES THE DESIGN PROFESSION A CHANCE TO DREAM¬AND NOT NIGHTMARES OF COURSE¬SWEET DREAMS

%LI "LEVIS IS ON THE FACULTY OF THE 3CHOOL OF )NFORMATICS AT )NDIANA 5NIVERSITY AT "LOOMINGTON AND WORKS IN THE AREA OF (#) AND DESIGN

*ODI &ORLIZZI IS AN ASSISTANT PROFESSOR WITH A JOINT APPOINTMENT IN THE 3CHOOL OF $ESIGN AND THE (UMAN #OMPUTER )NTERACTION )NSTITUTE AT #ARNEGIE -ELLON 5NIVERSITY

7E NEED TO BECOME MORE SKILLED AT CO PRODUCTION $ESIGNERS ARE NOT DESIGNING THE EVENTS PRODUCTS OR SERVICES¬THEY ARE DESIGNING THE RESOURCES FOR OTHERS TO DESIGN WITH « *ODI &ORLIZZI

« *OHN -AEDA

#ONTRIBUTORS

3HELLEY %VENSON IS AN ASSOCIATE PROFESSOR TEACHING )NTERACTION DESIGN IN THE 3CHOOL OF $ESIGN AT #ARNEGIE -ELLON 5NIVERSITY

« "ILL -ITCHELL

4HE SINGLE MOST IMPORTANT AGENDA FOR DESIGN EDUCATION IN THE FUTURE IN MY OPINION WILL BE ABOUT DESIGN LEADERSHIP I E FUTURE DESIGNERS MUST LEARN NOT ONLY TO WORK IN A TEAM BUT ALSO AND MOST IMPORTANTLY MUST DEVELOP ABILITIES TO LEAD DESIGN TEAMS ARTICULATE A STRONG VISION AND COORDINATE DIFFERENT SPECIALISTS FROM DIFFERENT DISCIPLINES ACROSS DIFFERENT LOCATIONS TOWARDS A COHERENT GOAL « *EF (UANG

34

,OOKING BACK TO THE FUSION OF ART AND CRAFT YOU°D HAVE TO SAY THAT ­DESIGN® IS THE ORIGINAL HYBRID DISCIPLINE $ESIGN IS UNIQUELY POSITIONED TO ASSIMILATE AND INTEGRATE ALL SORTS OF PRACTICES IN ORDER TO SAVE THE WORLD

4HE ABILITY TO LEARN VERY FAST IN UNFAMILIAR DOMAINS IS PROBABLY THE MOST IMPORTANT PRACTICAL DESIGN SKILL « "ILL -ITCHELL

*EF (UANG IS THE DIRECTOR OF THE -EDIA AND $ESIGN ,ABORATORY AT THE 3WISS &EDERAL )NSTITUTE OF 4ECHNOLOGY ,AUSANNE "RENDA ,AUREL IS #HAIR OF THE 'RADUATE 0ROGRAM IN $ESIGN AT #ALIFORNIA #OLLEGE OF THE !RTS *OHN -AEDA IS A GRAPHIC DESIGNER VISUAL ARTIST AND COMPUTER SCIENTIST AT THE -)4 -EDIA ,AB

"ILL -ITCHELL IS 0ROFESSOR OF !RCHITECTURE AND -EDIA !RTS AND 3CIENCES AT -)4 $ON .ORMAN IS A PROFESSOR OF #OMPUTER 3CIENCE 0SYCHOLOGY AND #OGNITIVE 3CIENCE AT .ORTHWESTERN 5NIVERSITY "ERNIE 2OTH IS A PROFESSOR IN THE $ESIGN $IVISION OF -ECHANICAL %NGINEERING AT 3TANFORD 5NIVERSITY 0ATRICK 7HITNEY IS THE DIRECTOR OF THE )NSTITUTE OF $ESIGN AT THE )LLINOIS )NSTITUTE OF 4ECHNOLOGY 2OB 7OODBURY IS FOUNDING #HAIR OF THE 'RADUATE 0ROGRAM IN THE 3CHOOL OF )NTERACTIVE !RTS AND 4ECHNOLOGY AT 3IMON &RASER 5NIVERSITY *OHN :IMMERMAN IS AN ASSISTANT PROFESSOR AT THE (UMAN #OMPUTER )NTERACTION )NSTITUTE AND AT THE 3CHOOL OF $ESIGN AT #ARNEGIE -ELLON

Spring Forward 2007 Ambidextrous

35

T H I NK I NG

4HE 3ECRET ,IFE OF 3ECRETS BY 0AUL $OURISH

)

T°S EASY ENOUGH TO RECOGNIZE A SECRET WHEN YOU COME ACROSS ONE 7HITE LIES SEXUAL INDISCRETIONS WHAT HAPPENS IN 6EGAS¬WE KNOW THE SORTS OF THINGS THAT MIGHT BE SECRET AND WE KNOW FROM WHOM THEY SHOULD BE SECRET !S IS SO OFTEN THE CASE THOUGH THE SEEMING NATURALNESS WITH WHICH WE UNDERSTAND THESE THINGS MASKS THE COMPLEXITY OF THE SOCIAL PHENOMENA UNDERNEATH

36

Ambidextrous Wistful Winter 2008

Illustrations by Helena Ju

locations of their favorite mushrooming they are there. The way we act signals In particular, the very idea of secrets— spots. It’s secret knowledge. the boundaries that we acknowledge. hidden knowledge, fraught with What’s important about these Watch someone walking down a busy dangers—obscures the secret about particular secrets is that everyone street, trying to find a place to sit in an secrets. They are made to be shared. understands the veil of secrecy that airport, or searching for an empty spot What’s interesting is how. When we on a crowded beach, and you’ll see the look at just how and why (and amongst surrounds them. People know that because this information is secret, they boundaries at work in the ways people whom) secrets are shared, we find that should never ask. People will go out move, look, and position themselves. there’s more going on than most social of their way to make sure that others That’s just what’s going on for Fine’s software, for instance, captures. mushroom hunters. Their You didn’t always know what orientation towards information— a secret was and you weren’t 4HE VERY IDEA OF SECRETSÂŹHIDDEN their collective, shared orientation always so finely attuned towards KNOWLEDGE FRAUGHT WITH DANGERSÂŹ towards it—marks out boundaries knowledge that shouldn’t be shared. You had to learn that. At OBSCURES THE SECRET ABOUT SECRETS between interesting mushrooms (like morels and chanterelles) school, for example, you learn 4HEY ARE MADE TO BE SHARED and uninteresting ones (like what sorts of knowledge might LBMs, short for “little brown be shared with teachers (or mushroomsâ€?), between mushroom should be kept from them), what kinds don’t think they are asking where the mushrooms are picked. If they seemed enthusiasts and non-enthusiasts, of knowledge cements friendships (or to be asking (“So, did you go anywhere between close friends and passing destroys them), and how information interesting this weekend?â€?) then they has strategic and tactical uses. Secrets acquaintances. live within a complex of social relations would strive to make it clear that the Secrets, too, follow the trajectories secret was to be maintained (â€œâ€Śunless and meanings. of these sorts of social engagements. you were mushrooming, of course!â€?) In Gary Fine’s lovely sociological Laurel Richardson, in Secrecy and Only a rube would ask a dumb study of amateur mushroom hunters, Status: The Social Construction of Morel Tales: The Culture of Mushrooming, question like, “Where did you pick Forbidden Relationships, looked at the these mushrooms?â€? we find a telling example of this social role of secrets in illicit relationships, When we talk about secrets, we context. Amongst the mushroom noting two distinct uses associated are talking about boundaries between collectors with whom Fine interacted, with different phases. Early in the people and between social groups. morels are highly prized. The morel relationship, secrets are shared as But we are also talking about other season is short and the mushrooms are a means of cementing intimacy; sorts of boundaries—those that denote hard to find. To make matters worse, partners will share secrets with each norms, conventions, expectations, overpicking is a serious problem; pick other, marking their closeness and and limits to inquiry and openness. too many mushrooms this year, and heightening the sense bonding. Later, One of the things that’s important next year’s crop will be smaller. People a new secret dominates, the secret of about boundaries is that we know tend to be very circumspect about the the relationship itself, something that is

Wistful Winter 2008 Ambidextrous

37

shared by the participants but hidden from partners, colleagues, and friends. Again, the very fact of this secret, shared only between the partners, intensifies the sense of mutuality. Studies like these reveal the complexity of the social practices around secrets and stand in marked contrast to the ways in which we think about information flows in online systems. “Information wants to be free,� we have been assured repeatedly in the breathless reports of Wired and similar publications. However, when information is free it loses its value and the things that its value does for us. Information design and information system design focus so regularly on access—on the easy availability of information and cues to its presence, on lowering barriers between people and groups, and on making information easy to come by and easy to share—that we sometimes lose sight of the importance of the practices that are being enacted thereby. If the movement of information is not an end but a means, then we might focus as much on the occasions on which it is not shared as on those on which it is because they become part of the same social complex.

38

Ambidextrous Wistful Winter 2008

It is not simply that “shared� spaces are insufficiently discriminating, although that is certainly true, as most users of photo sharing and social networking sites have cause to reflect every now and again. Nor is it simply that we need a richer language for expressing degrees of sharing (please, no more distinctions between “friends� and “family,� and especially those that presume I want to tell my family more

than I tell my friends!) No, the lesson of social studies like those described here is that secret sharing (or not) is a means by which aspects of social life are performed—done, not described. If we set out with the understanding that secrets are a means and not an end, perhaps we can find new depths and uses in the proliferation of sites which seem to trade in secrets and protosecrets.

­)NFORMATION WANTS TO BE FREE Ž WE HAVE BEEN ASSURED REPEATEDLY IN THE BREATHLESS REPORTS OF 7IRED (OWEVER WHEN INFORMATION IS FREE IT LOSES ITS VALUE AND THE THINGS THAT ITS VALUE DOES FOR US

HI GH C ON CE P T

4OWARD A "ROADER 6IEW OF $ESIGN !-")$%842/53 %DITOR %MERITUS 7ENDY *U REšECTS ON DESIGN THE DESIGN COMMUNITY AND !-")$%842/53° PLACE IN IT

4(% 02!#4)#%3 /& $%3)'.%23 !2% !$!04%$ 4/ 4(% $)6%23% 4().'3 4(!4 7% -!+% "54 4(%2% !2% -!.9 #/--/.!,)4)%3 /& 02!#4)#%

"Y 7ENDY *U

W

hen people hear of AMBIDEXTROUS and what we cover, the first three questions they ask are usually along these lines: “What do you mean by design?� “Why a design magazine?� “How is this different from other design magazines?� When Lawrence Neeley, Charlotte Burgess Auburn, and I started AMBIDEXTROUS, the goal was to bring the larger design community—people working on different aspects of design practice—under one big umbrella. Many people are careful when they say ‘design,’ clarifying their own personal definition of the word. This strategy has the benefit of being exact, but also has the unfortunate effect of contributing to the growing pile of definitions of design, each one seemingly isolated from the next. We think that a magazine is a good way to represent different views in a unifying way. AMBIDEXTROUS is meant to be a place where people in the design community share what it is they do, think, and care about in a common forum; the hope is that we might grow wiser and stronger for having shared ideas. Interestingly, the aspect of design that we seek to deemphasize is the product: This isn’t at all a catalog of the latest neat things from the designers of the moment. In fact, our kraft-paper cover is representative of our interest in what happens before products are shiny and polished. (And natch, the unfinished aesthetic also hints at our lack of formal publications training. But we hope that loyal readers have noticed that the magazine is slowly improving its degree of polish over time.) As we worked on the first issues of AMBIDEXTROUS, we had a wonderful time chatting with people from throughout the design community about how they see themselves fitting into the bigger picture. We’ve picked up a much richer idea of what it means to be a designer, and feel more than ever that there are many common bonds among designers working on wildly different things. The following sketches represent our current views on design: views that are always changing, and under development.

16

Ambidextrous Falling In 2006

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Falling In 2006 Ambidextrous

17

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(OWEVER A VERY FEW THINGS IN OUR LIVES ACTUALLY GET BETTER WITH AGE LIKE MY WALLET ,EATHER WOOD AND SOME METALS GAIN A MARVELOUS PATINA AS THEY ARE CARRIED HANDLED USED AND ­BROKEN IN ® 3CRATCHES CAN GIVE AN OBJECT CHARACTER RATHER THAN DETRACT FROM ITS PERFECTION (OW CAN WE USE THIS AS A LESSON FOR DESIGN (OW CAN WE MAKE OBJECTS THAT PEOPLE GROW TO LOVE ENOUGH TO WRITE AN OBITUARY ABOUT

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L `iÝÌÀ ÕÃÊÊÊ >âÞÊ-Õ iÀÊÓääx L `iÝÌÀ ÕÃÊÊ >âÞÊ-Õ iÀÊÓääx

* Ì ÊLÞÊ >ÜÀi ViÊ ii iÞ

!ND THIS CALLS FORTH A CHALLENGE FOR DESIGNERS IN ALL ¸ ELDS #AN YOU DESIGN AN OBJECT THAT GETS BETTER WITH AGE 7E REGISTER NO SURPRISE WHEN AN ITEM WE HAVE BOUGHT¬FROM A PAIR OF SOCKS TO A NEW CAR¬FALLS APART OR BREAKS DOWN 3OCKS RIP CARS FAIL AND WE EVENTUALLY THROW THEM AWAY 4HINGS DECAY THIS IS THE WAY OF THINGS %VEN A SIMPLE SCRATCH IN A CAR CAN DIMINISH OUR PLEASURE IN IT

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