AN MFA IN DESIGN THESIS PROJECT BY MARY ROHL
D
DESIGN WITH HEART [THE PRACTICE OF MEANINGFUL WORK IN DESIGN]
[RETHINKING THE PRACTICE OF DESIGN]
[DESIGN WITH PURPOSE]
THE HEART AND DESIGN PROJECT |
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WHAT’S thesis statement................................................................5 artist statement................................................................ 6 about...................................................................................... 8 influences............................................................................ 13 introduction....................................................................... 15 background ......................................................................18 project.................................................................................28 conclusion..........................................................................43 references..........................................................................47
4 | INTRODUCTION
S THESIS STATEMENT The human desire to have a meaningful life is universal. A meaningful life is recognized as one that creates purpose and has heart-felt connections (Maslow & Langfeld, 1943). For individuals who make their living as designers, creating a meaningful practice sometimes conflicts with the profit-minded, machine-like organization of business. This research explores a contemporary movement in business that humanizes traditional corporate systems to expand profit-minded purpose to include beneficial social and environmental causes. The central objective for the Heart and Design project is to put heart into the practice of design.
For the purpose of this project, heart represents fulfilling human
connections and the joy and satisfaction that result from contributing to society in ways that make it better. A fulfilled designer can contribute effectively with meaningful purpose to the entire creative and strategic process. The Heart and Design project theorizes that, instead of limiting the design process to making an idea marketable, design can make the idea itself better. The extended effects of this project application add value to the designer’s practice and corresponding business.
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design for good. 6 | INTRODUCTION
ARTIST STATEMENT Being a graphic designer is part of my identity. But, there always seemed to be something missing from my professional life. After the romance and excited energy of a job well done for my client faded, I often reflected on what, if any real impact I was making on things that actually mattered to me.
A meaningful life is recognized as one that has a sense of purpose
and creates human heart-felt connections (Heintzelman & King, 2014). While western society has been successfully driven by external motivations, money, status, and grades—research has found the joy felt from reaching those goals is fleeting (Ancor, 2011; Pink, 2009) and its motivating factors limited. Real happiness is only possible when a meaningful life is achieved, fortified with human heart-felt connections and purpose (Ancor, 2011; Pink, 2009).
The UW-Stout MFA program has released my mad designer skills
needed to tackle real-life, big-picture problems. I am no longer a designer who is limited to the creative department. I vow to continue to grow and contribute as valuable creative resource: a researcher, a storyteller, a problem-solver and a leader.
I believe we are in the midst of an exciting paradigm shift. Businesses
are realizing the importance of truly listening to the humanistic concerns of society—it is just good business. There are exciting emerging businesses for good, “b (benefit) corporations”, that combine financial stability with socially responsible purpose. And most exciting for the design profession, more than ever there is opportunity for design with wholehearted compassion at its core.
The Heart and Design Project could easily be dismissed as overly
idealistic and unrealistic, but emerging research from psychology, ecology and economics is indicating it is a practical response to creating a functional, sustainable business model. This yearlong thesis project, Heart and Design, investigated how design can lead with its heart. Within this paradigm shift, business leaders are recognizing that at the end of the day, or more importantly at the end of their career, return-on-happiness beats return-on-investment! Wholehearted designers are able to break free from the limits of the traditional creative department with the ultimate goal that business, society and the environment can all flourish.
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HEART/D PROJEC MFA IN “ The urge to create beauty and justice is an untapped power, and it exists in all levels of society.”
-Paul Hawken
Author, The Ecology of Commerce
8 | INTRODUCTION
DESIGN CT DESIGN heart
Modern-day logic often dismisses the power of the heart
as a myth. Experiences that are heart-felt, from joy, empa-
thy and sadness, are the key to a meaningful life and connect us
as humans (Ancor, 2011; Pink, 2009) Anyone who has been surrounded by
loved ones has felt the power of heartfelt energy. In the profit-only dogma of traditional business, designers often unattached themselves from their questionable ethics or finding purpose in order to facilitate the goals of business.
design
Design is a mighty force at the core of modern culture. Everything that
has been touched by humankind (Simon, 1996), from a cultivated field to
a skyscraper, has been designed and as a result has made our lives better or worse. According to the seminal work on the history of graphic design (Meggs & Purvis, 2006) since the Industrial Revolution, technology has
created a gulf between people’s material desires and spiritual needs. In the preface to this revised work—Meggs writes that the design arts (architec-
ture, product, fashion, interior, and graphic design) are critical to reconnect and communicate human values to industrialized products (Meggs & Purvis, 2006). Additionally, as the space and complication of what is designed expands, via technology and industry, so does the role of designers.
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business
design
consumer
linear business model
consumer
design
business
business and design responding to consumer
design
humans/ systems environment
wholehearted design 10 | INTRODUCTION
THE RELATIONAL LANDSCAPE OF DESIGN, BUSINESS AND MEANINGFUL WORK IS CHANGING The human desire to have a meaningful life is universal. A meaningful life is recognized as one that creates purpose and has heart-felt connections (Maslow & Langfeld, 1943; Heintzelman, King, & Anderson, 2014). This heuristic-style study examines the interconnected relationship between designers, the practice of design, and meaningful work. For individuals who make their living as
connections and the joy and satisfaction
designers, creating a meaningful practice
that result from contributing to society
often conflicts with the profit-minded,
in ways that make it better. A fulfilled
machine-like organization of business.
designer can contribute effectively with
This research explores a contemporary
meaningful purpose to the entire creative
movement in business that humanizes
and strategic process. The Heart and
traditional corporate systems to expand
Design project theorizes that, instead of
profit-minded purpose to include beneficial
limiting the design process to making an
social and environmental causes.
idea marketable, design can make the
idea itself better. The extended effects of
The central objective for the Heart
and Design project is to put heart into the
this project application add value to the
practice of design. For the purpose of this
designer’s practice and corresponding
project, heart represents fulfilling human
business.
PURPOSE OF THE HEART AND DESIGN PROJECT is to identify and provide a plan to increase meaningful work within the practice of design. This project is an attempt to utilize research, experience, and the designer’s way of knowing as it was explained by Cross (2001) to create a plan for designers to help them transform their personal practice. By utilizing a compassionate, introspective research approach, a design plan was initiated which will provide a platform for change with the goal of establishing meaningful work within the practice of design.
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Most people do not consciously seek to become self-actualized individuals but instead desire to be happy and fulfilled. They hope to do something they love while providing for themselves and their family. Maslow (1974) indicates that an activity including a creative endeavor encourages enlightenment. Ironically designers, who have followed their passion in a professional endeavor, may then be surprised when they ultimately find themselves with feelings that conflict with their personal journey toward enlightenment. In this way, the creative work of design contributes to the designer’s feelings of conflict between a job well done for a client and the design’s impact on a humanitarian level. The frustration is further intensified by the practice of design’s lack of self-governance. The way the practice of design is organized does not allow designers to achieve autonomy or their highest level of creativity.
12 | INFLUENCES
Influences
“ Graphic designers need to be empathetic, interdisciplinary story-makers working across media.” -Robin Landa
Author, Nible-Thinking Creatively in the Digital Age
“ If you can fundamentally change a business model, product or service, you can shift the paradigm.” -Robin Landa
“ A wholeness of need and spirit, reunited through the process of design, can contribute in great measure to the quality and rais d’entre [meaningful justification of life in urban societies.”
-Phillip Me
Author, Meggs’ History of Graphic D
“ Good design can release humankind of its neurotic acts of destruction, and aim it towards a destiny that is far more enduring.” -Paul Hawken
Author, The Ecology of Commerce
Author, Nible-Thinking Creatively in the Digital Age
“ Many designers who are skilled technicians, craftsmen, or researchers have struggled to survive in the messy environment required to solve today’s complex problems.” -Tim Brown
“ The urge to create beauty and justice is an untapped power, and it exists in all levels of society.”
Author, Change by Design, CEO/President of IDEO
-Paul Hawken
Author, The Ecology of Commerce
This project has been inspired by the wisdom of those who have shared their research and ideas toward a more compassionate world in a practical context. In addition to the titles shown, there has also been significant research through a variety of peer-reviewed papers, information on the Internet as well as additional published books. As part of the research stage of this project, I also interviewed individuals who have various roles and views in the design and business industry.
14 | INTRODUCTION
, f
son n]
eggs
Design
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Design is not neutral. It is time for designers to transcend their service role facilitating the singleminded profit goals of business. Instead, design can step up to help align business systems with human-centered, socially minded principles that aid in healing humankind’s previous shortsightedness.
16 | INTRODUCTION
A passion project. THE HEART AND DESIGN PROJECT |
17
DESIGNE THE HEART AND DESIGN PROJECT IS A DESIGN PLAN FOR THE DEVELOPMENT OF MEANINGFUL WORK IN THE CONTEMPORARY PRACTICE OF DESIGN. The impetus for this project was that, despite designers following a professional career they are passionate about, the constructs of the professional practice of design are organized in a way that inhibit a sense of accomplishing meaningful work. The end result includes foundations for designers who hope to transform their practices to increase the joy and satisfaction and increasing meaning in their work.
An overview of critical writings on design reveals a common theme: the profession of design lacks accountability and responsibility, primarily because of its professional practice (Soar, 2002). In 1964, Ken Garland penned “The First Things First Manifesto” that expressed the concern of a collection of designers, photographers, and students regarding the profession of design’s lack of responsibility and meaningful contribution to society (as cited in Soar, 2002). The manifesto was subsequently revised and published as the First Things First Manifesto 2000, further highlighting the continuous lack of meaningful work in the practice of graphic design and calling for a more humanistic approach to design. The sentiments presented by each version of the “First Things First Manifesto” are echoed by countless critical writings about the practice of design and the impetus of this Heart and Design project. Designer and activist Victor Papanek (1985) infamously described graphic design as the destructive force that is used in “persuading people to buy things they don’t need, with money they don’t have, in order to impress others who don’t care” (p. ix). Additionally, Buchanan (2001), an influential design critic, asserted the following: We are under no illusion that design is everything in human life, nor do we foolishly believe that individuals who specialize in one or another area of design are necessarily capable of carrying out successful work in other areas. What we do believe is that design offers a way of thinking about the world that is significant
18 | PROJECT
for addressing many of the problems that human beings face in contemporary culture. We believe that conscious attention to the way designers work in specialized areas of application, such as communication or industrial design, is relevant for work in other areas (p. 38). Papanek (1985) and Buchanan (2001) express the frustration that many designers experience: their potential to contribute in a meaningful way is limited. The established constraints of the designers’ practice inhibit their potential to the extent that it causes dissatisfaction at work as they question their professional ability to contribute with meaning and purpose. Chalofsky (2010) attributed this workplace dissatisfaction to the lack of meaningful work. Meaningful work is described as an activity, professional or non-professional, that contributes to an individual’s higher-order goals and that contributes to living a life that aligns with personal values (Chalofsky, 2010). Maslow (1974) describes this search (for higher order goals essential to the human endeavor) as self-actualization. Meaningful work is not only about finding and practicing one’s passion but also about using that passion and skill to make a positive difference in the world. Meaningful work results when individuals participate in a process where they have a voice, where their voice is heard, where they feel valued, and where they contribute in a positive way. Most people do not consciously seek to become self-actualized individuals but instead desire to be happy and fulfilled. They hope to do something they love while providing for them-
ER’S
“ We are under no illusion that design is everything in human life, nor do we foolishly believe that individuals who specialize in one or another area of design are necessarily capable of carrying out successful work in other areas. What we do believe is that design offers a way of thinking about the world that is significant for addressing many of the problems that human beings face in contemporary culture. We believe that conscious attention to the way designers work in specialized areas of application, such as communication or industrial design, is relevant for work in other areas.” -Richard Buchanan Author and Design Theorist
selves and their family. Maslow (1974) indicates that an activity including a creative endeavor encourages enlightenment. Ironically designers, who have followed their passion in a professional endeavor, may then be surprised when they ultimately find themselves with feelings that conflict with their personal journey toward enlightenment. In this way, the creative work of design contributes to the designer’s feelings of conflict between a job well done for a client and the design’s impact on a humanitarian level. The frustration is further intensified by the practice of design’s lack of self-governance. The way the practice of design is organized does not allow designers to achieve autonomy or their highest level of creativity. Concurrent with design’s struggles to realize a more meaningful practice, design has established itself as a valuable commodity. “Thus, design establishes a dual connection between the technical and the cultural and between the academy and the market” (Ilhan, 2013). The impact of design has become increasingly apparent in contemporary culture—so much so that other disciplines are attempting to utilize the methods of design, adapting the terms design thinking to solve problems and design to describe well thought-out plans. This ubiquitous nature of design is part of the struggle for design to define itself as an academic discipline and to professionally claim autonomy over its specialty.
The struggle to accomplish meaningful work within the commercial practice of design is connected to many of its defining qualities, such as its ubiquitous nature, heteronomous expansive field of knowledge, and service-oriented nature of its practice. These qualities that define design also limit designers’ ability to practice in a meaningful way. In attempt to help designers practice in a meaningful way, the central objective for the Heart and Design project is to put heart into design. For the purpose of this project, heart represents creating human connections and the joy and satisfaction that result from contributing to society in ways that make it better. In essence, the path to happiness is through compassion, accountability, and responsibility in all facets of our work: those we work with, the environment around us, and
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WE ARE DESIGNERS
DISADVANTAGED
LOVE
HUMAN CONNECTIONS
SHARE IDEAS/VALUES
UNDERSTANDING
SCIENTISTS
MEANINGFUL WORK IN DESIGN
SOCIAL IMPACT
CONSUMERS EDUCATORS
BUSINESS PEOPLE
MEANINGFUL PURPOSE
FINANCIAL SECURITY
all of the stakeholders throughout the process of design. The path to a more fulfilled designer is paved by the ability to effectively contribute with meaning and purpose to the entire creative and strategic process. The Heart and Design project theorizes that, instead of limiting the design process to making an idea more attractive and marketable, design can make the idea better. The end result adds value to the designer’s practice and corresponding business.
20 | PROJECT
The activities of this project involved creating a plan of action for designers who want to make their work relevant in new contexts. The convergence of meaningful work with a more humanized business structure creates an opportunity for the practice of design to evolve beyond the constructs of the traditional studio. The plan suggests ways for designers to use artifacts, communication, interaction, and spatial elements to apply their core skills to transform how people interact with prod-
ALL
ucts, services, systems, organizations, and policies. The plan provides benefits for both the designer and organization. By connecting design’s creativity, innovation, and problem-solving skills to a broader context, the plan is intended to make the whole idea work better for humanity. PURPOSE OF THE PROJECT The purpose of the Heart and Design project is to identify and provide a plan to increase meaningful work within the practice of design. This project is an attempt to utilize research, experience, and the designer’s way of knowing as it was explained by Cross (2001) to create a plan for designers to help them transform their personal practice. By utilizing a compassionate, introspective research approach, a design plan was initiated which will provide a platform for change with the goal of establishing meaningful work within the practice of design. The design organization. This type of transformation design of a social phenomenon falls under the construct of design activism: design with the intent of creating a greater good for humankind and nature (Fuad-Luke, 2009). Within the construct of design activism, the method of “slow design”
is utilized (Fuad-Luke, 2009). Slow design is the interaction of co-designers from all disciplines; public and professional arenas are both embraced (Fuad-Luke, 2009). Proactive collateral materials were also produced to gather co-designers as contributors in the slow design process. The Heart and Design project is the collection of the theories, skills and tools that enable meaningful work to be realized. The primary assumption of this project is that the designerly way (Cross, 2001), or the collective of what is known by this designer-researcher’s experience, can be used to change what is, in this case, the practice of design and its relationship to meaningful work. The proposed plan offers a new way of being and doing, with the goal of impacting, if only by planting a seed of positive change, the professional practice of design. The primary limitation of the project is the extent of the designer-researcher’s knowledge through experience and inability to control the tra jectory of this designed project. The designer-researcher’s professional practice in design is focused on the field of graphic design. Through this experience, an understanding of other design disciplines is generalized based on this experience and gathered from critical and historic writings.
Legendary design activist Victor Papanek has described graphic design as the destructive force that is used in “persuading people to buy things they don’t need, with money they don’t have, in order to impress others who don’t care (1972, p. ix).”
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DESIGN WHAT IS MEANINGFUL WORK IN A DESIGN? Meaningful is any activity that in some ways provides extended meaning, particularily towards self-actualization. For designers, whose activies often focus on profit driven, service and task oriented projects, meaning at work can be an endeavor that difficult to attain.
This section will present selections of classic
the time they contribute to their professional
theories as well as recent studies on designers
careers.
and meaningful work in a humanized culture. It
MEANINGFUL WORK
is divided into three sections: meaningful work,
the practice of design, and the humanization
meaningful work from a Human Resource
movement. The relational nexus of these three
perspective using social motivation theories as
elements will conclude this section identifying
a foundational framework. Chalofsky found that,
key strategies in the design plan of action.
when he asked people why they work, they often
This will include description of how the discipline
say for the money. What he found in establishing
of design’s defining qualities conflict with
a framework for meaningful work is a disconnect
its ability to achieve meaningful work: the
between what individuals think they want from
ubiquitous nature of design and its ability to
work and what will make them satisfied, happy,
expand its knowledge base. Conversely, design’s
and productive (Chalofsky, 2010).
role as cultural intermediary, acting as a bridge
between technology and the human endeavor, as
and other benefits provide validation of their
well as the cultural trend to humanize, indicate
worth at work. These extrinsic rewards do not
opportunity for growth. These challenges and
motivate individuals to be more productive and,
opportunities affect the designer’s personal
more importantly, to work creatively with passion
quest to achieve meaning and purpose in her
and purpose. “In survey after survey and study
professional endeavors, what Chalofsky (2010)
after study when the questions push beyond the
described as meaningful work.
surface, people list money behind values such as
Creating a meaningful life is part of a personal
satisfaction, close work relationships, autonomy,
journey toward self-actualization (Maslow, 1943).
work-life balance, and learning” (Chalofsky, 2003,
For some designers, this process will only involve
p. 52). Along with individuals questioning their
time distinct from their professional practice
purpose also comes the realization that what
in endeavors such as parenthood, personal
they do is part of their identity and a critical
projects or charity work. For other designers, it
component in creating meaning in their life
is important to incorporate meaningful work into
(Chalofsky, 2010).
their professional practice. For those individuals
who seek to make a positive difference in the
phenomenon in that it is not a concrete,
world, it is hard to overlook or compartmentalize
defined goal but rather a constantly evolving
Chalofsky (2010) began investigating
According to Chalofsky, an individual’s salary
Meaningful work is recognized as a social
22 | BACKGROUND OF MEANINGFUL WORK AND DESIGN PRACTICE
“state of being” (Chalofsky, 2010, p. 11) that changes based on an individual’s knowledge
The components of the meaningful work
and experience. For any given person, what
model include:
constitutes meaningful work will change
1. Sense of self
throughout their life based on knowledge and
2. The work itself
experience acquired. Consistent with other
3. Sense of balance
social phenomena, meaningful work is affected
(Chalofsky, 2010)
by cultural norms within a society’s construct and has patterns that vary by generational and other demographic factors.
It is important to distinguish between
meaning of work and meaning in work. Meaning of work suggests the value of the work one does as part of an organization and the extended contribution to one’s family and society (Chalofsky, 2010). Having meaning of work can contribute to one’s overall joy but may not provide a strong contribution to one’s sense of meaning in work (Chalofsky, 2010). Meaning in work suggests an inclusive sense of purpose, achieved by “furnishing identity and a reason for functioning as a human being” (Chalofsky, 2010, p. 11). When meaning in work is achieved, a person has realized meaningful work.
Chalofsky (2010) indicates that meaningful
work is part of the integration of the whole as described by Maslow (1943). The integrated
wholeness of meaningful work connects the interplay of three key aspects: the sense of self, the work itself, and the sense of balance. Each of these factors in and of itself does not create meaningful work; instead, achieving meaningful work relies on the interplay of each to create an integrated whole for each individual’s dynamic (Chalofsky, 2010).
Chalofsky (2010) looks to the work of
motivational theorist Herzberg (Herzberg, Mausner, & Snyderman, 1959) to explain the disconnect created between job satisfaction and dissatisfaction and its relationship to intrinsic and extrinsic motivation. Herzberg, Mausner, & Snyderman’s (1959) research revealed that increasing the level of “basic hygiene factors,” or extrinsic related motivators such as salary and benefits, only affect the individual’s dissatisfaction level (see figure 1). Conversely, only an individual’s connection to intrinsic motivators that provide meaning and challenge would achieve workplace satisfaction. THE HEART AND DESIGN PROJECT |
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To explain this theory, imagine an individual
WORKPLACE SATISFACTION
is offered a job with a high salary, great benefits and generous time off to spend with friends and family. The supervisor explains to the individual that the job they do will be valuable work for
meaning & challenging work: responsibility, achievement, autonomy, opportunities, and feedback regarding contribution.
the company. The work itself is to sit in a room alone with very little human interaction doing a repetitive, manual task over and over again, for 40 hours each week, day in and day out. While this job provides for the individual’s needs and it may even help facilitate a meaningful life outside of work, according to Herzberg, Mausner, & Snyderman’s theory, the work itself will never be satisfying, meaningful work. On the other pole of the continuum, satisfaction is related to intrinsic
NEUTRALITY
motivational factors that include elements of the work itself (provided it is meaningful and challenging): responsibility, autonomy,
salary, benefits, supervisor relationships, job security, safety, and benefits.
achievement, recognition and opportunities for growth and advancement that align with an individual’s personal goals. Connecting to these satisfaction elements inspires the individual’s intrinsic motivation to activate a high level of performance. Through these satisfiers an individual can achieve meaningful work.
For employers, there are benefits to having
a satisfied worker. An employee satisfied by participating in meaningful work is more likely
WORKPLACE DISSATISFACTION
to achieve a high level of performance, job satisfaction, retention and creative output. Meaningful work creates a mutually beneficial situation for the employee and employer, particularly in roles where creativity and
FIGURE 1. CHALOFSKY’S THEORY on workplace satisfaction vs. dissactfaction utilizes two separate poles of a continum.
innovation are desired. As our workplaces evolve to become less mechanical and more humanistic,
achieved with production goals and cost saving
businesses need to create an environment
measures. Machine-like production and extrinsic
structured toward creative output.
motivational rewards no longer have the desired
effects when the ultimate goal is creative output.
The industrial era mindset has dominated
American culture for the past 300 years. Chalofsky (2003) indicates that our culture is
HUMANIZATION OF BUSINESS
now moving toward the Knowledge Economy.
Within this emerging context, the human
direct connection to the products and services
contribution through creativity and problem
they use. Consumers demand authenticity,
solving is more important than efficiency
transparency, and value while also connecting
More than ever before, consumers have a
24 | BACKGROUND OF MEANINGFUL WORK AND DESIGN PRACTICE
with the story and larger mission of the business
Hall & Sagmeister, 2001) identify a common
(Grant & Notter, 2011). Businesses of all types
complaint within the practice of design as
and sizes are realizing that, in order to survive
a lack of social responsibility. The usual
in this new paradigm, they must realign their
conclusion of these critics is that design lacks
values to incorporate humanity-centered
professional social responsibility in their
considerations.
practice because of the way their practice
According to experts on consumerism,
is constrained (Soar, 2002). This level and
this paradigm shift to a more compassionate,
extent of this type of self-critique is unique
thoughtful business model is caused by a natural
to the profession of design. Most of these
struggle for people to be more human (Grant &
design experts (Glaser, 2000; Bierut et al,
Notter, 2011). This shift is also tied to individuals’
1999; Buchanan, 2001; Heller & Finamore,
sense of empowerment and interconnectedness
1997; Helfand, 1998) conclude that the
created by computers and the Internet (Lewis
solution to the lack of social responsibility
& Bridger, 2001). “As the Internet has become
is to create partnerships and collaborations
more central in our lives, we have begun to
in which design is not simply a means to
witness a revival of the importance of being
persuade and sell.
human” (Grant & Notter, 2011, p. 4). Humans
naturally want to be heard and to contribute to
like efficiencies and with workers motivated
society.
extrinsically will find individuals who are
Businesses with a central focus for
frustrated with their inability to participate in
compassion and humanity can reimagine
meaningful work. For professional designers
themselves as becoming an incredible force
seeking meaningful work, the structure and
for good while still being profitable (Mackey &
work of the practice of design present unique
Sisodia, 2014). As large corporate structures
challenges that conflict with the inherent
are realigning their goals to be more authentic
qualities of design.
and transparent, upstart companies have
the flexibility and agility to be even more
profession of design, they have a thorough
compassionately focused.
understanding that a significant aspect of
All workplaces structured with machine-
By the time most designers enter the
their role as designer involves facilitating the THE PRACTICE OF DESIGN
needs of business through commercialism.
Several critical voices on design (Glaser, 2000;
The challenge for many designers is when
Bierut, Drenttel, & Heller, 1999; Buchanan, 1998,
they realize a job well done for their client
2001; Heller & Finamore, 1997; Helfand, 1998;
conflicts with their own personal views on
“ Business now believes that good design is good business. In fact, it believes in it so strongly that design has been removed from the hands of designers and put into the hands of the marketing department” (Glaser, 1997).” -Milton Glaser Designer
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25
commercialism, environmental sustainability and
biggest challenge designers have is not limited
social concerns. This conflict is rooted in a moral
to what the designers do, but also to how their
gray area, which manifests itself in a frustrated
practice is organized by means of constraints.
designer who feels their contribution at work
Perhaps the largest obstacle to achieve
lacks social responsibility.
meaningful work within the practice of design
is the limited degree to which their professional
One of the most significant expressions of the
profession of design’s lack of social responsibility
activities are within their personal control.
is the First Things First Manifesto. The manifesto
was first introduced in 1964 and again in 2000
complaint that can be traced to the practice
(See Appendix A for the complete version of the
of design’s lack of autonomy within its own
First Things First Manifesto 2000), as a call to
specialty is designers’ discontent within their
action to designers by designers to explore using
practice. This lack of autonomy can be linked
design in more socially significant ways, beyond
to one key factor: the ubiquitous and largely
facilitating commercialism:
heteronomous nature of design that makes it
subject to the rules and knowledge of other
There are pursuits more worthy of our
Conflicts within design. A recurring
problem-solving skills. Unprecedented
disciplines.
environmental, social and cultural crises
demand our attention…. We propose a reversal
adapts the theories presented by Ilhan
of priorities in favor of more useful, lasting and
(2013) in defining the practice of design as a
democratic forms of communication–a mind
unique interdisciplinary profession. Design
shift away from product marketing and toward
is unique in that it borrows most of its laws
the exploration and production of a new kind of
from other disciplines: art, engineering,
meaning. (First Things First, 1999).
psychology, sociology, business, and marketing.
Furthermore, there is additional flexible
In follow-up discussions regarding the call
The Heart and Design thesis project
to action expressed by the First Things First
knowledge unique to each client, as well as new
Manifesto, the profession of design reacted with
knowledge specific to each project.
a variety of views that ranged from expressing
support to claiming elitism. It was easy for
practice of design’s ubiquitous, interdisciplinary
influential, “star” designers who signed the
nature that is often developed based on the
decree to take a stand and limit their clients
designer’s instincts of human nature tend
to ones they deemed worthy of their skills
to undermine professional designers’ ability
(Soar, 2002). Others in the industry pointed
to distinguish themselves as experts, with
out that the professional designer has limited
the ability to act autonomously within their
responsibility for their role because they
specialty in the workplace. In other words,
are essentially controlled by marketing and
for designers, the parameters and finalization
advertising.
of their work is almost always contingent on
the sanctions from individuals outside of the
For most designers, facilitating
commercialism and making less than positive
Based on this theory (Ilhan, 2013), the
practice of design.
social and environmental impacts through work projects may be unavoidable. An objective
THE NEXUS: DESIGNING FOR MEANINGFUL
observation of the practice of design would
WORK IN A HUMANIZED SYSTEM
conclude that it is a creative process almost
According to Chalofsky (2010) meaningful
entirely supported and governed by the goals
work suggests an inclusive sense of purpose,
of business. An introspective observation of the
achieved by “furnishing identity and a reason
contemporary design practice reveals that the
for functioning as a human being” (Chalofsky,
26 | BACKGROUND OF MEANINGFUL WORK AND DESIGN PRACTICE
2010, p. 11). For the profession of design, and
ability to define what is vulgar and what carries
those individuals seeking meaningful work in its
symbolic weight; in addition, design is designed
practice, the question remains: Is there a way
as a cultural intermediary, making the manmade
to both serve the needs of business and satisfy
functional, meaningful and human.
their personal expectations for meaningful work?
cultural intermediary presents an opportunity
Beyond the inherent qualities that contribute
The notion of design’s unique skill as that of
to design’s lack of autonomy, there are additional
for designers to reframe the focus on their own
contributing factors in how design functions as
role and how their role is viewed professionally
a practice. The organization of the practice
both within and outside of the practice of
of design has two noteworthy qualities: a
design. The identification of design as simply
separated work environment and work projects
a unique creative but subjective aesthetic
that are almost entirely subsumed by directed
process, or even as a ubiquitous problem-
commercial constraints. There is no literature
solving technique, further undervalues the role
found that explores the historic reason for these
of design. Reframing our view of the role of
distinctions but there are some indications that
design to that of cultural intermediary allows us
it is related to the craft-oriented beginnings of
to identify the skill that is unique to the practice.
design.
This mind shift has a two-fold effect: it adds
value to the practice and facilitates the notion of
While it makes logical sense to define
project goals with a projects design brief,
autonomy.
it also limits the meaningful and potential
valuable contribution of designers. A project
themes established through the background
brief represents a linear production model.
research that will be utilized in creating a plan
As business becomes more humanized, the
for change are as follows:
BACKGROUND SUMMARY. The primary
linear production model negates the potential 1. Meaningful work is achieved through autonomy, meaningful purpose and connection to strategy in a designer’s practice. 2. The historical and organizational constructs of the practice of design inhibits meaningful work 3. Design specialty is not problem solving but its role as cultural intermediary, connecting the man-made to the human
benefit provided by the creative insight of designers. On the other hand, a designer could be involved with problem solving that creates previously unrecognized solutions. In this way design becomes a valuable resource in creating solutions that benefit the triple bottom line: people, profits and purpose.
Defining design as cultural intermediary
rather than a problem solving technique helps
endeavor.
to identify design as uniquely significant and positions designers as potential agents of positive social change. Simon (1969) defined
design as a universal act of problem solving,
for designers to discover these opportunities,
changing the existing to a more desirable
with the hope that the end result will be
situation. This distinction for the practice of
meaningful work. Recognizing it is the role as
design is problem solving, which is focused on
cultural intermediary that provides the biggest
connecting the artificial to the human endeavor.
opportunity for design to reimagine the current
limits of their roles, create synergies outside its
Ilhan (2013) believes that designers hold
The Heart and Design project provides tools
a special social status as tastemakers or what
existing construct and apply the unique skill of
Bourdieu (1984) describes as cultural capital.
design to an extended context.
In this way, professional designers have the THE HEART AND DESIGN PROJECT |
27
DESIGNIN THE HEART AND DESIGN PROJECT IS A PLATFORM FOR CHANGE DIRECTED AT DESIGNERS SEEKING TO ADD MEANINGFUL WORK INTO THEIR PRACTICE. The background research indicated there are key challenges for designers who would like to adjust their practice in a way that includes the opportunity of meaningful work. The research also provided valuable insight into creating opportunities for designers seeking meaningful work. For the Heart and Design project, tactical and strategic design artifacts were created with the intention of transforming the designer’s relationship to meaningful work. This process most closely relates to the constructs described as transformational design. In creating a plan for change that plants a seed for transformation, it borrows established tools from the various designs for change frameworks, as well as design methods associated with traditional public service campaigns that increase awareness and raise consciousness for change. PROJECT THEMES. The following key themes were identified through the research process (including all of the background information, the designer-researcher perspective, and the interviews):
28 | PROJECT
Contributing factors regarding the practice of design and lack of meaningful work: 1. Design lacks autonomy and control over its specialty. 2. Design lacks connection to the project’s strategic and development process. Opportunity for growth regarding the practice of design and meaningful work: 1. Design has unique skill is problem solving as cultural intermediary. 2. Creativity and strategic problem solving is a valuable commodity. 3. Humanized business practices promote democratization of project strategy, development, and approval process. 4. Humanized business practices promote a holistic approach: involving, listening, and appreciating all individuals and stakeholders in a democratic manner.
NG
RESEARCH. The research presented a valuable opportunity to connect with a variety of businesses about their practices and relationships to design. The following section summarizes the interviews
001
and explains the key takeaways from each.
CASE STUDY
ORGANIC VALLEY CO-OP
BRIEF DESCRIPTION: Largest organic farmer owned co-op in North America. STARTED: 1985 ANNUAL SALES: 1 billion in sales in 2015 EMPLOYEES: 802 MEMBERS: 1779 Cooperative Members CORE VALUES: To create and operate a marketing cooperative that promotes regional farm diversity and economic stability by the means of organic agriculture methods and the sale of certified organic products. WHAT MATTERS MOST: Organic Valley has created a whole-hearted system to support the family farm and provide a quality organic and sustainable product. WHAT I LEARNED: Meeting with Organic Valley at its corporate headquarters in La Farge, WI, you get the feeling of walking into a happy family home. Clean, sunshiny, and lovingly dependent on each other, Organic Valley’s employees seem to be good people, who are working for a good company, that does good things. They believe in the need for balance and respect between humans, plants and animals. Organic Valley is not driven by financial goals but seek to sustain a balanced system to support their farmers and employees. At a time of exponential growth in the organic food industry, demand is high, Organic Valley caps their growth at a predetermined percentage. By doing this, Organic Valley is looking forward to the future by creating a sustainable financial system that will support its members and maintain its high quality standards. BIGGEST CHALLENGES: In times of growth, with many new members, there is substantial time spent educating on values and standards. With democratic leadership, the decision making process can be slow. Leaders embrace this challenge and recognize it as a way to maintain their integrity.
“ Organic Valley is social experiment disguised as a business.” -George Siemon Organic Valley, CE-E-I-O
THE HEART AND DESIGN PROJECT |
29
Organic Valley is an organic food marketing
Organic Valley website, the owners began
cooperative, located near LaCrosse, Wisconsin,
producing organic vegetables and soon added
in the roaming hills of the southwestern
dairy products (www.organicvalley.com). From
Wisconsin coulee region. Two people were
the beginning the company’s “philosophy and
interviewed separately, Chuck Lacasse, Creative
decisions were based on the health and welfare
Director, and Jonathan Reinbold, Sustainability
of people, animals, and the earth” (www.
Research and Grant Manager. Organic Valley
organicvalley.com).
was first established in 1988 as a farmerowned collective with the purpose of helping
THE KEY TAKEAWAYS from the interview at
to preserve the family farm. According to
Organic Valley were the following: 1. Organic Valley is structured to include social and environment values. Despite this value system, the design department operated in a very traditional manner: physically located 30 miles from the main campus, with directed projects and no connection to the strategic process. In this way, one could postulate that Organic Valley’s compassionate oriented mission has not yet evolved to holistically incorporate meaningful work for the design department. 2. Lacasse, who runs the design department, mentioned that his job at Organic Valley was more rewarding than the previous positions he’s held because of the wholehearted good nature of the product and the company. Lacasse reported that, instead of having to put a creative spin on a product through manipulating the products claims, Organic Valley’s goal was just sharing the story of the products qualities. Lacasse indicated that the most rewarding aspect of his job was the fieldwork in which he traveled across the United States and other countries to direct the photo shoots of farmers and to use design to convey their story. 3. Both Lacasse and Reinbold reiterated the notion that organizing a successful business with compassionate humanitycentered values is possible and applicable to any type of businesses.
30 | PROJECT
002
CASE STUDY
MINDSAILING
BRIEF DESCRIPTION: Mindsailing is a marketing agency that services brands in a new way. This interview provided insight into the process of transforming complicated business systems. Located in downtown Minneapolis, Minnesota, in an untraditional cooperative workspace. STARTED: 2010 EMPLOYEES: UNDER 20 CORE VALUES: According to their company website: “Mindsailing is an innovation agency. Change is the new normal. Strong brands practice the art and science of resilience. We help brands transform with business strategies, marketing communications and innovation workshops. We’re strategically driven and tactically agnostic. Our approach focuses on sailing the sea change with business and cultural strategies that strengthen communications and improve offerings. We believe great brands are in the business of good. WHAT MATTERS MOST: Helping their clients navigate change with an fully open mind and ability to rethink existing systems, no matter how ingrained in the companies ways WHAT I LEARNED: One of the primary principals of navigating through these changes was to create unified goals among all the stakeholders and to ensure that each stakeholder should be recognized as a valued contributor. Diversity is important, not only in cultural diversity, but also in problem solving, approaching a problem from a diverse perspective and a willingness to discard the comfort of best practices in lieu of entirely reimagined solutions.4. For businesses who have relied on possibly outdated best practices, it is often necessary to embrace the notion of disruption in order to redefine systems in a way that is significant enough to make the desired design change.
“ We help brands transform.” -MINDSAILING
THE HEART AND DESIGN PROJECT |
31
Mindsailing is a marketing agency
The website also highlights the notion that
that services brands in a new way. This
“great brands are in the business of good”
interview provided insight into the process of
(www.mindsailing.com).
transforming complicated business systems. Located in downtown Minneapolis, Minnesota, in an untraditional cooperative workspace. Mindsailing is unlike traditional marketing agencies that develop advertising or public relations plans. Instead, Mindsailing helps their clients navigate the process of adjusting to change. Particularly, when the Mindsailing’s clients are presented with large paradigm shifts in their organization, such as large loss of customers, new nimble forms of competition, or more connected, proactive consumers. Using creative problem solving, education, and storytelling skills, Mindsailing helps their clients rethink existing systems in order to develop innovative solutions.
The interview with Heather Saucier, Director
of Innovation, was focused on the complicated process of designing change within complicated systems. While Saucier avoided talking about specific projects due to confidentiality policies, she explained that the primary activity of Mindsailing was to help businesses adjust to large-scale paradigm shifts. According to Mindsailing’s website, their clients are “facing this era’s most disruptive changes” (www.mindsailing.com).
32 | PROJECT
THE KEY TAKEAWAYS from the interview at Mindsailing were the following: 1. Mindsailing is a business that was created to assist their clients to become more humanized. 2. One of the primary principals of navigating through these changes was to create unified goals among all the stakeholders and to ensure that each stakeholder should be recognized as a valued contributor. 3. Diversity is important, not only in cultural diversity, but also in problem solving, approaching a problem from a diverse perspective and a willingness to discard the comfort of best practices in lieu of entirely reimagined solutions. 4. For businesses who have relied on possibly outdated best practices, it is often necessary to embrace the notion of disruption in order to redefine systems in a way that is significant enough to make the desired design change.
003
CASE STUDY
THE GOOD GROCER
BRIEF DESCRIPTION: Non-profit, grocery store using a working membership model. STARTED: 2015 MEMBERS: 350 CORE VALUES: Good Grocer was founded in 2015 by a group of people who wanted to help families in need access healthy foods at affordable prices. They do this through a volunteer membership model that invites people from the community to help operate the store and in turn receive a significant discount on their groceries. This minimizes their operational costs, which they pass along in the form of lower food prices for all shoppers. (www.thegoodgrocer.org) WHAT MATTERS MOST: A former paster, The Good Grocer developer, Kurt Vickman ran the neighborhood food shelf where he gave away food. After years of sustaining the food needs of the community, he feared that the service the food shelf provided might be a part of the problem in that it provided for their hunger needs but defeated their dignity and was part of cycle that didn’t allow individuals to grow. He wanted a solution that helped restore their dignity, gave them a sense of purpose while still provided for their food needs. WHAT I LEARNED: Meeting with the Good Grocer developer Kurt Vickman, you get the full impact on his wholehearted commitment to the those in need along with a bit of frustration that in our overly abundant society, there is need to provide food in the first place. The flagship store is equally functional and aesthetically beautiful, part high end co-op with finishes that rival an upscale furniture store and open, airy welcoming layout. It is clear that The Good Grocer’s goal of trying to eliminate the stigma and loss of dignity of shopping at this grocery alternative has been accomplished. Members/employees/volunteers work and shop seamlessly alongside each other. The Good Grocer is a perfect example of how re-imagining an existing model with compassion and forward thinking it is possible to make a better model.
“We have to stop treating those in need as helpless clients and start to see them as gifted contributors.” -Kurt Vickman
Founder, The Good Grocer
THE HEART AND DESIGN PROJECT |
33
GOOD GROCER is a grocery cooperative with
his goals of helping individuals with their food
a heartfelt mission to help people overcome
needs while also assisting them to reestablish
the cycle of poverty; it is presented as a food
their dignity while also providing a sense of
shelf alternative, located on Lake Street in a
purpose.
Minneapolis, Minnesota, neighborhood where
the need for food assistance is great. The
the
Good Grocer was founded in 2015 by a group
community who have need or want to help
of people who wanted to help families in need
those in need to help operate the store as
access healthy foods at affordable prices. It
cooperative members.
was also important for the Good Grocer’s
members receive a significant discount on
founders that this untraditional model assisted
their groceries. This arrangement minimizes
people out of the cycle of poverty.
the organization’s operational costs, resulting
in the form of lower food prices for all
A former pastor, the Good Grocer primary
Through a volunteer membership model, Good Grocer invites people from the
In turn,
developer, Kurt Vickman, ran the neighborhood
shoppers. The structure also has developed
food shelf where he gave away food. After
good-will relationships with large grocery
years of sustaining the food needs of the
distribution businesses that agree to sell the
community, he feared that the service the
Good Grocer food at the same wholesale
food shelf provided might be a part of the
price, as large-scale grocers would receive.
problem in that it provided for their hunger
This significantly lowers food costs, which he
needs but defeated their dignity and was part
passes on to all of the members.
of cycle that didn’t allow individuals to easily
overcome their needs for food assistance. If
and need-based members work alongside each
an individual receiving assistance has any
other. Community volunteers can choose to
type of employment, they may lose all of their
contribute their earnings to the need-based
food assistance. In this way, it perpetuates
members or use the savings for themselves.
the cycle. In this way, it perpetuates the cycle
When it comes time to purchase food, there is
because it unintentionally encourages people
no longer a stigma attached to taking food as
in need to subsist in poverty. Vickman felt that
charity; it is replaced by a feeling of pride for a
providing an alternative solution was critical to
job well done.
In this model, the community volunteers
THE KEY TAKEAWAYS from the interview at Good Grocer include the following: 1. The Good Grocer model is an inspiring example of the idea of disruption in transformational design projects. 2. Good ideas for the community can be aesthetically beautiful, and this beauty adds to the dignity of those who are served by this good will project.
34 | PROJECT
004
CASE STUDY
DESIGNING CHANGE
BRIEF DESCRIPTION: Sandy Wolfe-Wood designs for social change STARTED: 2013 EMPLOYEES: solo; collaborates with AIGA MN with their Design for Good Program CORE VALUES: Upending conventional thinking for social good. Designing Change uses the principles of design to help solve social problems. Social problems demand human-centered solutions, and design thinking is a human-centered problem-solving process. WHAT MATTERS MOST: Combining public policy and design. How can design help make change that affects the public sector and seeks to make profound change. WHAT I LEARNED: I got the sense of meeting a kindred spirit when I met with Sandy Wolfe-Wood. She looks at design and design thinking as being synonymous. When I talked with Wolfe-Wood and we discussed my future role in the industry and design education, we talked about how to practically put these ideas into practice. She inspired me to put my research into the Cards for Humanity project.
DESIGNING CHANGE, a design firm that focuses on using design to create positive social
THE KEY TAKEAWAYS from the interview
change, is located in the trendy warehouse
at Designing Change include the
district in downtown Minneapolis. The
following:
interview conducted was with Sandy Wolfe
1. According to Wolfe Wood, designers are
Wood. As a graphic designer, Wolfe Wood has
searching for more profound meaning
always considered design as a tool for solving
in their practice and want a way to
problems, not just as a method of artifact
contribute a social impact other than
creation for commercial purposes. In her
participating in pro-bono work after
pursuit to use design in a humanity-centered
hours.
way, she entered graduate school to study
2. This interview with Wolfe Wood
Public Affairs at the Humphrey School of the
highlighted the challenge that exists
University of Minnesota. Today, Wolfe Wood
between academic theories and
focuses her practice on social impact and
implementing ideas into practice.
public policy, primarily in the non-profit sector.
Wolfe Wood was interested in the
She also spearheads the local initiative of AIGA’s
process of presenting and implementing
(American Institute of Graphic Artists) Design
the ideas discussed into the design
for Good program.
community.
What matters most to Wolfe Wood is
3. According to Wolfe Wood and the
utilizing design to create positive social change.
designers she has worked with in the
As part of her research, Wolfe Wood connected
Minneapolis community, there is a
with the AIGA’s Design for Good program in
willingness to be more socially-minded,
order to connect and share ideas with design’s
and there are challenges to integrate
professional organization.
ideas into their daily practice.
THE HEART AND DESIGN PROJECT |
35
“ If you can fundamentally change a business model, product or service, you can shift the paradigm.” -Rhonda Landa
Author, Nimble-Thinking Creatively in the Digital Age
The experiences of these interviews provided
design as research, design thinking or just the
valuable insight and helped raise the designer-
design process. The term design as research
researcher’s conscious awareness on various
is somewhat confusing because it not an
aspects of humanized business practices and
investigative process but an explorative one.
meaningful work. As a designer-researcher,
The following section illustrates methods and
during the design stage, research experiences
tools that process background information, the
also range from well-defined interviews to
problem at hand, and human insight to create
overheard conversation in a public setting. The
an effective and practical plan for designers
designer-research becomes hyper-aware to a
seeking meaningful work.
variety of information. It is becomes important
Four-way thinking map. The first tool
to notice and absorb large concepts as well as
highlighted is the four-way thinking
small minute details and everything in between.
map. This tool helps to redefine the idea
Unlike a science-oriented research project,
of meaningful work in relationship to a
which seeks to find multiple sources of support
humanized product. In other words, this
and proof of findings, for design, everything
process explores the relationship between work
has potential and is significant. Each and
satisfaction and dissatisfaction and between
every seemingly unrealistic idea might prompt
a humanized product and one that exists as a
inquiry, bring awareness to subconscious
commercialized profit-making vehicle.
knowing and contribute to the strategic process that solves the design problem, which in this case is to create a plan for change. STRATEGIC PROCESS TOWARD DESIGN The Heart and Design project platform was created through a synergy of information processed toward an effective design plan. This strategic stage is an active process that occurs between collected research knowledge and designed solution, imagining the transformation between what is and what could be. This process is sometime identified as
36 | PROJECT
The benefit of this tool is to simplify highly complex, interdependent situations using a multi-purpose topology (Faud-Luke, 2009). In this way, the four-way thinking model addresses the questions: 1. Is it possible to achieve meaningful work within a profit-only environment and achieve meaningful work? 2. Does the humanitarian value of what designers do directly correlate to high levels of meaningful work?
The interview with Lacasse at Organic
multi-purpose topology (Faud-Luke, 2009). In
Valley provided one such notion that did
this way, the four-way thinking model addresses
not correspond with the idea that what and
the questions:
whom professional designers work for will add
1. Is it possible to achieve meaningful work
meaning to their work. This was a personal
within a profit-only environment and achieve
assumption and was reiterated by design
meaningful work?
critics indicating that the practice of design
2. Does the humanitarian value of what
lacked responsibility because it was limited
designers do directly correlate to high levels of
as a vehicle for commercialism (Soar, 2002).
meaningful work?
In order to attempt to resolve this cognitive
conflict, the four-way thinking map was utilized.
creative director at Organic Valley operated in
The four-way thinking tool helps to simplify
the same way as a traditional, project directed
complicated ideas and, by doing so, brings
design office. It was also noted that national
clarity.
advertising campaigns were handled by an
outside agency. Creative Director Chuck
The benefit of this tool is to simplify highly
complex, interdependent situations using a
Interview observation: The designers and
Lacasse indicated that he experienced more
FIGURE 2. Four-way map: design practice, humanized business and satisfaction at work comparison. THE HEART AND DESIGN PROJECT |
37
meaning at work because of the positive, heart-
following humanitarian qualities: kindness,
felt mission of his employer, Organic Valley.
empathy, and compassion.
As the creative director, Lacasse spent much
of his time traveling and interacting with the
The use of the four-way thinking tool dispelled
farmers, photographing them and listening to
the researcher’s assumption about humanized
their stories which he noted is the most fulfilling
business and meaningful work. This process
aspect of his job.
clarified the idea that meaningful work does not
directly correlate to the humanitarian impact of
Based upon observation of the creative
Conclusion of the four-way thinking exercise:
department, its physical location away from
the project or business the designers work for,
the main headquarters and verbal confirmation
but also indicates how designers are valued in
by Lacasse, the creative department operates
this development process and given opportunity
in the traditional segmented and directed
for input. Without a voice in strategic decisions,
manner. This observation was the impetus
designer’s satisfaction toward meaningful work
to further investigate the idea of meaningful
is only marginally increased. For this reason,
work for designers whose product is more
the designer-researcher would posits that in
humanized and involves little to no commercial
order to achieve high levels of meaningful work,
manipulation.
it is necessary to have both strategic value
and a humanity-focused project. This research
Conflict: While the theory that less
commercialized products would create
exercise also indicates a surprising theory:
meaningful purpose at work, the background
meaningful work can be achieved through
research on meaningful work indicated an
traditional commercialized, profit-oriented
important connection to strategic process.
projects and businesses.
Design practice, satisfaction and humanized product offering. This four-way thinking
PROJECT DESIGN
diagram (see figure 2) is a tool that can simplify
The design of the project takes on a primary
the complicated practice of design on two
shift of message and voice in order to attract
continuums: satisfaction/dissatisfaction at
and inspire the participation of professional
work and humanized/non-humanized business
designers. The project will be presented to
practice. The four quadrants created by
professional designers with the goal of getting
these two cross-sections identify the elements
them to engage with the mission, a very
created by the following environments:
different goal from the research focus. Rather
satisfaction/humanized work, satisfaction/
than focus on sharing the research, the public
non-humanized work, humanized work/
platform was structured in order to prompt
dissatisfaction work and non-humanized/
change.
dissatisfaction work.
The Heart and Design public platform was
designed to be a visually attractive artifact.
The Satisfaction and Dissatisfaction at work
continuum uses the Herzberg, Mausner, and
It was important to communicate a message
Snyderman’s Satisfaction/Dissatisfaction theory
that resonates with designers who may be
(Herzberg, Mausner, & Snyderman, 1959), which
frustrated with their current role. These visual
indicates that satisfaction is gained through
artifacts are then utilized to present decision-
intrinsic motivators and that dissatisfaction
making heuristics and process cards, which are
includes extrinsic motivators. The humanized
designed to empower professional designers to
and traditional commercial business practice
reimagine their practice.
is defined by consciously working toward the
38 | PROJECT
The illustration (see Figure 4) shows an
overview of the objective oriented framework
artifacts form the foundation of the Heart and
for the Heart and Design project design
Design platform with the intention to guide
plan:
designers seeking meaningful work. The five
Project design goals:
heuristics help to bring consciousness to the
1. Increase awareness of the lack of meaningful
way the practice of design is organized and in
work.
a positive manner. They will also help designers
2. Empower designers seeking meaningful
adjust their personal practice. The process
work.
cards help designers explore a collection of
3. Foster positive synergies.
tools, resources, and inspirational stories. The downloadable leadership guide is an
These three objective goals are important to
informative resource that includes a summary
the project’s strategy. The goal of each Heart
of meaningful work, creative self-actualization,
and Design designed artifact is to, tactically or
and a step-by-step guide on hosting a Heart
strategically, increase awareness, empower, or
and Design meaningful work event at the
foster positive synergies of meaningful work for
designer’s workplace.
designers.
project included a set of five humanity-centered
Tactical artifact development. The tactical
The heuristic guide: The Heart and Design
Figure 4. The Heart and Design Project: objection oriented organization chart. The objective goal. The objective of this Heart and Design project is to design a plan for change: increase meaningful work in the contemporary practice of design.
THE HEART AND DESIGN PROJECT |
39
Develop an understanding of meaningful work and the dynamics of the practice of design Design a heuristic model that with the goal of adding meaningful work: increase awareness, empower designers, and foster positive synergies Imagine a variety of workplace scenarios for designers seeking meaningful work
Figure 5. Heart and Design Heuristic model of development. design heuristic guidelines. The goal of all
that either support or hinder meaningful
heuristics is to provide strategies to review
and human motivation. These various ideas
when faced with difficult decisions for designers
were synthesized and then design narratives
who seek to design with heart. For this project,
or scenarios for practical application were
participating in meaningful work requires a
envisioned. (See figure 5.)
deeper level of participation, responsibility, investigation, empathy, and understanding with
The resulting heuristics were a balance of
the given problem and system.
those ideas with each of the five heuristics
The intent of this Heart and Design
designed to support the process adjusting
heuristics was to provide a practical and
the mindset of the designer’s current state
memorable guide in shifting professional
of practice to accomplish the following:
designers’ mindset from the way they currently
1. Increase awareness of the lack
practice to the new state of being with the specific goal of practically incorporating meaningful work into their practice. These five heuristics were built on this project research while also taking into account practical considerations in the workplace
40 | PROJECT
meaningful work in design. 2. Empower designers seeking meaningful work. 3. Foster positive synergies toward meaningful work in design.
MEANINGFUL WORK IN DESIGN HEURISTICS
The heuristics were a culmination of synthesized background research, the research interviews, observations, and designer practical experience. These factors were synthesized with the objective goals to create the Heart and Design heuristics. The heuristics were developed to speak to designers in a supportive, encouraging, and personal voice as follows: 1. DESIGN AS A WHOLEHEARTED PERSON. Design with compassion using your head and your heart to solve problems in a way that makes the world a better place. Work to incorporate your social, environmental and economic perspectives into the entire project plan by incorporating strategic synergies. Professional designers are not just aesthetic artists in a commercial setting. Before others recognize the wholeness of the designer, designers themselves must appreciate their own value to the process, both in and outside of the traditional realm of the design departments. The purpose of this first heuristic is to empower the designers with the notion of their own value. 2. BREAK FREE OF THE DIRECTIVE CONSTRAINTS OF THE DESIGN BRIEF. Seek ways to implement democratic collaborations for each project: strategy, implementation, and completion. Step outside the comfort of the segmented studio environment to apply your core design skills in a new context, connecting individuals to systems, services, organizations, and policies. Democratic collaborations require that all members of the team have responsibility, value, and consideration regarding each other’s specialty provided from their personal and professional experience. At some point in the history of design, designers’ work, the specialty that is design has become almost entirely subsumed by commercial constraints put forward in a design brief. 3. DESIGN WITH EMPATHY. When possible, take empathy to an anthropological level and immerse yourself in the situations, people, and culture you are designing. Designers are skilled “empathicians,” but it is important to be cautious of empathy gathered through assumptions, stereotypes, and outdated best practices. Use the research stage to connect to the idea, emotion, need, and value of the human endeavor. Designers are already skilled at a high level of empathy. This heuristic guideline provides a valuable reminder to keep this skill in mind and continue to develop this skill as a research aid. Empathy is a key, underlying skill to the aspect of designers as cultural intermediaries. 4. REALIGN YOUR PURPOSE. Expand your traditional view of stakeholders to include the customer, the environment, suppliers, and the local community, as well as society at large. Doing so requires a very conscious shift in externally motived, profit-only oriented best practices to design with the triple bottom line (social, economic and environmental) in mind. The idea of the expanded stakeholders is a positive way of viewing the idea of not just designing for profit-minded goals within a strictly commercialism construct. Incorporating the idea of a varied system of stakeholders will help designers validate the process of meaningful work. 5. BE EMPOWERED THROUGH DESIGN. The specialty of design is using its core design skills to transform an idea to a valuable and usable product, service, or experience. The practice of design is a powerful resource needed to help business and society transition to materialize, reimagine, reinvent, and create entirely new solutions for the good of humankind, in every endeavor. This particular heuristic is established to bring awareness to designers that they do indeed have the ability to change the dynamic in which they work.
THE HEART AND DESIGN PROJECT |
41
Because adding meaningful work to the
result of the extensive historical, contextual, and
designers practice is likely to be a change
emerging techniques.
in the existing dynamics, it is likely to cause
disruption. The previously listed heuristics,
significant practical challenges in its quest to
used as a decision making process may at times
incorporate more meaning and purpose into the
be problematic to individuals, departments and
practice of design. The first step of the Heart
clients that the designer works with, as well as
and Design project was to bring awareness to
the designer. The intent of the heuristics is to
designers frustrated with the lack of meaning
make this process that is likely to be disruptive
within their professional practice. The problem
process, as straightforward as possible.
surrounding the lack of meaningful work in
The heuristics were envisioned to be a flexible,
design has been established in the design
usable, and understandable decision-making
community. Calls-to-action and manifesto on
aid in the practice of humanity-centered
the practice have been raised by influential
design. In addition to the heuristics guide, a
designers about their own practice.
set of process cards was created as a combined
42 | PROJECT
The Heart and Design project faces
F
FINAL SUMMARY AND IMPLICATIONS
(Herzberg, Mausner, & Snyderman, 1959), it also
defined the difference between a purpose at
The primary motivation for this study was
that designers lacked meaning and purpose at
work (provide for your family and complete
work. Initially, the proposed theory reasoned
projects that satisfy the needs of clients) and
that a more meaningful product or service was
meaningful work (lending voice to projects that
the key to a more meaningful practice. Many
connect the work to a meaningful purpose).
businesses, particularly ones that specifically
seek to have a more compassionate and
theory regarding creative self-actualization
meaningful business structure, still overlook
indicates that, as designers achieve high
their own human resources as a way to
levels of creativity at work, it results in
humanize their organization and workflow.
creative self-actualization. According to
From a professional designer’s perspective,
Maslow, the “effect is that the creativity of my
one can then theorize that the lack of input on
subjects seemed to be an epiphenomenon
strategy, implementation, and completion of
of their greater wholeness and integration”
the designed project is a primary source of the
(Maslow, 1974, p. 26). This state of being, as a
designer’s frustration. A variety of influential
consequence means “they waste less of their
designers expressed the link the designer’s
time and energy protecting themselves against
frustration to the commercial application of
themselves” (Maslow, 1974, p. 26) and are then
their practice. These designers (Brown and
primarily concerned with empathic oriented
Kutz, 2009, Glaser, 2000; Buchanan, 1998, 2001;
problem solving and creative making.
Hall & Sagmeister, 2001) urge professional
designers to develop responsibility in their
restricted by commercial constraints to the
practice and separate their practice from the
extent that their work “activities involve only
constraints of commercialism. Where would
a limited degree of subjective control” (Soar,
that lead the practice of design whose ma jority
2002, p. 571). Based on Maslow’s theories,
of professionals’ role it is to facilitate the desires
the creative endeavor of design is likely to
of business?
lead to a state of creative self-actualization.
One could posit those designers’ frustrations
This question led to the further investigation
In addition to meaningful work, Maslow’s
Designers in their professional practice are
of what causes the frustrations designers
stem from the degree to which others control
feel in their workplace and the adoption of
their practice. Theses frustrations are further
the heuristic-style intrinsic research process,
accentuated by the designer’s internal struggle
research regarding meaningful work and
to resolve the dichotomies of commercialism
contemporary practice of design. Why was
and solve problems utilizing a broader range
it that designers went into the professional
of objectives. On a positive note, within the
practice of design with a full understanding of
root of this frustration also exists the designer’s
their role in facilitating the commercial needs
creative power.
of business, but over time grew increasingly
frustrated with their role in this regard?
the full contribution a designer is able to
make is diffused by the directed construct
To answer this question, it was important to
Until this creative power is unleashed,
understand the constructs of meaningful work
of the projects and practice of design. The
and how it is achieved. The background and
emergence of a variety of design disciplines,
related work presented a clear understanding
such as system, environment, experience,
of meaningful work as explained by Chalofsky
and social design, reflect the need and
(2010). Using Herzberg, Mausner, and
appropriateness of design to participate in
Snyderman’s satisfaction/dissatisfaction theory
the strategic process. While those emerging THE HEART AND DESIGN PROJECT |
43
specializations are exciting developments, the goal of this project was to inspire a more
IMPLICATIONS FOR THE FIELD OF DESIGN
widespread method for designers to add
Designers cannot fully control how businesses
meaning and value to the process of design.
utilize their skills, but they can create
When business is presented with a cognitive,
opportunity for themselves in the sense of
strategic challenge, does it look to its creative
being ready to contribute. The Heart and
team to help solve the problem at hand?
Design project advances awareness and
provides skills and techniques to empower
Raising awareness of the lack of meaningful
work within the practice of design is the first
designers to create synergies connecting their
step in creating opportunity for change.
practice to meaningful work. For this reason,
Developing systems that democratize the
democratization of workflow regarding all
projects from strategic launch to completion
aspects of their specialty seems to be the first
is likely to decrease many of these frustrations
step in adjusting the constraints experienced by
experienced by designers in all types of
most professional designers.
businesses. For businesses whose products
strive to incorporate humanized considerations
intermediary, applied to a broader context of
of human, environment, and economic concerns,
problems, represents the untapped resource of
there seems to be a tendency to overlook the
the practice of design. This project involves a
need to also humanize their workforce along
paradigm shift from businesses’ linear machine-
with their product or service.
like organization structure to one that fosters
creativity, collaboration, and humanization
It is important that the Heart and Design
The power of design as a cultural
project to raise awareness, initiate an
of what a business does as well as how their
actionable plan, and then build a community
workforce is organized. As businesses become
that provides support for designers seeking
more humanized, their human resources are
meaningful work. As designers become
likely to become less linear and segmented
empowered to utilize the skills they already
in their structures. There is a need for this
possess in new and varied context, they gain
type of thinking for businesses that seek
confidence and skills needed to participate
creative responses to existing problems and
fully during the strategic development stage.
untapped income streams. For business seeking
Professional designers that have the tools and
innovative ideas, their existing creative design
confidence to add designed value to a project,
team may be more of a resource than they
they will naturally be called on to participate in
realize. The designers businesses currently
this process.
employ may be able to provide a valuable
44 | CONCLUSION
PROJECT REFLECTION This project started years ago with one frustrated designer who knew it was possible to make a bigger impact using design. Perhaps unoriginally, this led this designer-research to graduate school to seek a different course and way to practice design. Upon further researcher, it was clear that there are parallels between this designer-researchers own design journey and the broader profession of design.
The practice of design it seemed valued productive replication and
formulaic solutions. A designer who sets out to follow their passion only to be disillusioned with a work environment that admonished true creative speculation. Work environments that rather than empower its workers in a way that gets the most out of their skills and knowledge, constrains and restricts their work so much to the point that they feel marginalized as a human.
With creativity and vision, the way things are can change, but it needs to
rethink the way we, as designers, practice. For designers with heart, time of crisis and paradigm shifts such as humanized businesses; create opportunity to realign your purpose in a way that makes your work and the world better. Designers have the ability to influence their work environment, the businesses they work for and the world around us.
Design that has social impact has much more significance than design
for commercial reasons alone. Giving a designer a voice to help change the tra jectory of a project, to add meaning and impact to the project will in turn add meaningful purpose to their work. Eliminating or ignoring the commercial application of design is not only unrealistic and unimaginative; it overlooks the source of the problem for designers seeking meaning in their work.
For designers, the way we work as directed, service oriented aesthetical
artifact creators it is hard to imagine another way of being. It is time to redesign your own practice. Imagine the type of practice we imagined when we started our professional journey. A practice in which design is an imaginative process beyond typefaces and color schemes, one that values creative speculation and that designers are utilized to manifest the beauty of the unknown.
THE HEART AND DESIGN PROJECT |
45
resource for more insightful, human, and pragmatic perspective on the challenge that the business is facing. Designers have the ability to perceive the issue through a different lens, designing a solution that others in the business may not have considered before.
It is time for designers to transcend
their service role of blindly facilitating the goals of business. As design steps into its strategic role, it must also shed its protective shield of complacency and replace it with more unprotected feeling of responsibility. As our systems face large-scale disruptions, it is shortsighted for the systems’ strategists to overlook the creative department in the process of developing innovative solutions. This project is working toward integrating the skills of design as a valuable resource for creating and implementing design toward meaningful work. As a profession, design has a responsibility to emerge from the comfort of the creative department (Brown and Katz, 2009) and immerse itself into real-world, complicated problems and their corresponding solutions. As the expanded need for complicated designed solutions becomes more prevalent, the role of designer must also evolve so that their voice is heard and valued.
Experienced designers subconsciously produce things with empathy, style, and shared values to
solve problems. The next level of design is to incorporate these skills in a way that provides meaning through a valuable contribution to our world. When design is able to create value within its practice, businesses seeking to solve complicated problems will naturally look to their design teams as part of the collaborative effort in solving complicated problems. Practicing designers who are prepared to participate in the strategic development process will have the opportunity to practice with more heart.
Everyone, designers included, have the right to be heard, to contribute to society with meaning and
purpose, and to experience a happy, fulfilled professional life. By utilizing existing skills and applying them to bigger, more complicated problems, designers at all levels have the insight, sensitivity, and empathy to create heart-felt solutions to very complicated problems. Each unique designer has the ability to influence positive change. Designers who adapt these methods, who practice in a more meaningful way have the potential to model a new way of being. At some point, a new dynamic is created between designers and those who utilize design to solve complex wicked problem. The end result is an unleashing of collective power of humanity-centered design. This collective power is perhaps society’s greatest untapped resource.
46 | RESEARCH
THE HEART AND DESIGN PROJECT |
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612.644.9910 | mary@heartdesignproject.com twitter: make_shift_hppn | facebook: facebook.com/heartdesignproject www.heartdesignproject.com AN MFA IN DESIGN THESIS PROJECT - UNIVERSITY OF WISCONSIN STOUT