1. What seminar readings, exercises, or assignments were most challenging, interesting, or rewarding for you? Why?
Even though it was a pretty small assignment, I really loved the egg drop. Having the structure that Abby and I designed and built survive through that fall felt really rewarding. I wish we could have done more things like this where we directly applied the design principles we learned to a project.
I also was intrigued by our discussions on store design. It made me reconsider my surroundings and the choices other people made to influence my decisions. I will now always be conscious of owner’s manipulations because of this class.
2. What are the most important things you learned in this seminar?
Everything about the world of design can be narrowed down to its visceral, behavioral, and reflective qualities. A good design (of anything) should take into account the way it affects the user through these three lanes.
3. How might you use this learning in the future?
I am now more aware of the ways in which I am manipulated by the advertizing and design industry. I can consciously choose to succumb to these influences or counteract them now, rather than being oblivious to them.
Tuesday, November 24, 2009
Wkipedia Article
THEY KEEP DELETING IT CHUCK!!!!! I am so frustrated
http://en.wikipedia.org/w/index.php?title=Elizabeth_Chater&action=edit&redlink=1
http://en.wikipedia.org/w/index.php?title=Elizabeth_Chater&action=edit&redlink=1
Monday, November 16, 2009
Architecture Symptoms of Failure and the Current Design Process
1. What are examples of architectural design that you consider to be epic failures?
There is a mall in Portland, OR that is almost completely deserted save for a "Made in Oregon" tourist store and occasional art classes. There is so much space in this building. It is seemingly viscerally attractive (white pillars, marble, could have been clean at one time). It is well geographically situated...there seems to be nothing wrong with it. But then, if you take a close look at how the place is designed, it all makes sense. First, there is only one main entrance. It is on the side of the building, not the corner, and it is dark and intimidating. From the start they would have trouble getting people in there. Then, once inside, you notice that everything is square, and some of the corners block the view of other storse when standing most anywhere (the stores would not play off of each other's sales). And they never managed to make it desirable enough in the first place for people to come. It doesn't offer anything new. It's just big, white, and uninteresting. Some flashy advertisements would help, along with a new front entrance and curving hallways.
2. Good, Bad, and Ugly. Choose a building on K campus and analyze its behavioral and visceral usability.
Fine Arts Building. Used for performances of all kinds: includes a theatrical theatre (Balch), an any-use theatre (Dalton), a recital hall, and a black box theatre. It is also home to all rehearsal and practice rooms (for both music and theatre), a gallery and shop space for visual art, and a set construction space as well. This building astounds me because of how much it contains, and once you get to know the place, how naturally it works.
I am going to use Balch theatre (and it's many pre-show extremities) as my example because that is where I have recently frequented much of my time. Starting with the lobby: low ceilings, carpet, and pentagonal shape. Was probably fashionable when it was built but is now a little outdated. Also there are three doors at the outside entrance which all swing out the same way. That is often a problem because one can't really tell which way they go. However, this space does hold all audience pre-show amenities (bathroom, advertisement lighting, ticket booth.) Then the audience may enter through any of 4 sets of double doors into a decompression zone (useful for unwanted spilling light or actor entrances from the house). The house is situated in an acoustically optimal way (high ceilings, thrust stage), and visually optimal way (all seats have a good angle). I find it weird though that the seats themselves are 3 different colors...again with the outdated 70s design that is functional but not necessarily aesthetically pleasing. There are two voms (vomitories, or entrances from the audience) that are useful for surprise entrances and necessary exits. They lead straight to the rehearsal room where classes are held and actors can be before their entrances. If the lights are on in the rehearsal room, though, there is some flooding into the house...therefore there is a green room around the corner where the actors SHOULD be if their entrance is not immediate. The rehearsal room branches off two ways. One hallway leads to one dressing room and a doorway and staircase leading up to backstage left, and the other is the same but opposite. In the middle is the makeup room, lined with bright lights and long mirrors. Actors can cut across this room if they are in a hurry. There are also numerous conveniently placed doors (leading from the scene shop directly on to stage, the scene shop to the dumpsters, the lobby to the rehearsal room...). Basically the design of Balch is really confusing, a little outdated, but BRILLIANT nonetheless.
3. What is the flaw in the current design process? How could this problem be fixed?
The flaw in the current design process is "behavioral data are not currently developed and quantified for a building or planning project, nor is feedback a part of the process". Not only should the owner, architect and regulatory government be involved, but also the people who are going to be utilizing that space when it is finished. Architect should not try to fix behavioral problems with their "Rules of Thumb", a list of don'ts that doesn't take into account the behavioral necessities of the environment.
There is a mall in Portland, OR that is almost completely deserted save for a "Made in Oregon" tourist store and occasional art classes. There is so much space in this building. It is seemingly viscerally attractive (white pillars, marble, could have been clean at one time). It is well geographically situated...there seems to be nothing wrong with it. But then, if you take a close look at how the place is designed, it all makes sense. First, there is only one main entrance. It is on the side of the building, not the corner, and it is dark and intimidating. From the start they would have trouble getting people in there. Then, once inside, you notice that everything is square, and some of the corners block the view of other storse when standing most anywhere (the stores would not play off of each other's sales). And they never managed to make it desirable enough in the first place for people to come. It doesn't offer anything new. It's just big, white, and uninteresting. Some flashy advertisements would help, along with a new front entrance and curving hallways.
2. Good, Bad, and Ugly. Choose a building on K campus and analyze its behavioral and visceral usability.
Fine Arts Building. Used for performances of all kinds: includes a theatrical theatre (Balch), an any-use theatre (Dalton), a recital hall, and a black box theatre. It is also home to all rehearsal and practice rooms (for both music and theatre), a gallery and shop space for visual art, and a set construction space as well. This building astounds me because of how much it contains, and once you get to know the place, how naturally it works.
I am going to use Balch theatre (and it's many pre-show extremities) as my example because that is where I have recently frequented much of my time. Starting with the lobby: low ceilings, carpet, and pentagonal shape. Was probably fashionable when it was built but is now a little outdated. Also there are three doors at the outside entrance which all swing out the same way. That is often a problem because one can't really tell which way they go. However, this space does hold all audience pre-show amenities (bathroom, advertisement lighting, ticket booth.) Then the audience may enter through any of 4 sets of double doors into a decompression zone (useful for unwanted spilling light or actor entrances from the house). The house is situated in an acoustically optimal way (high ceilings, thrust stage), and visually optimal way (all seats have a good angle). I find it weird though that the seats themselves are 3 different colors...again with the outdated 70s design that is functional but not necessarily aesthetically pleasing. There are two voms (vomitories, or entrances from the audience) that are useful for surprise entrances and necessary exits. They lead straight to the rehearsal room where classes are held and actors can be before their entrances. If the lights are on in the rehearsal room, though, there is some flooding into the house...therefore there is a green room around the corner where the actors SHOULD be if their entrance is not immediate. The rehearsal room branches off two ways. One hallway leads to one dressing room and a doorway and staircase leading up to backstage left, and the other is the same but opposite. In the middle is the makeup room, lined with bright lights and long mirrors. Actors can cut across this room if they are in a hurry. There are also numerous conveniently placed doors (leading from the scene shop directly on to stage, the scene shop to the dumpsters, the lobby to the rehearsal room...). Basically the design of Balch is really confusing, a little outdated, but BRILLIANT nonetheless.
3. What is the flaw in the current design process? How could this problem be fixed?
The flaw in the current design process is "behavioral data are not currently developed and quantified for a building or planning project, nor is feedback a part of the process". Not only should the owner, architect and regulatory government be involved, but also the people who are going to be utilizing that space when it is finished. Architect should not try to fix behavioral problems with their "Rules of Thumb", a list of don'ts that doesn't take into account the behavioral necessities of the environment.
Ads Fads & Consumer Culture Response
1. Select a brief passage from the reading and explain why you thought it was interesting.
"There are several other excellent, action packed ads for light beer, featuring heavyweight boxers and huge football players who rip open beer cans as if they were hand grenades. Thus we males are reassures that drinking light beer will not make people think we are sissies."
The viewer looks to advertisements for reassurance. No matter how much we are opposed to idealistic and stereotypical commercials (housewives cleaning, men drinking beer...etc) that is what the companies behind the media want us to believe is the standard. And to a certain extent, if they say so, it's true. Therefore advertisements have an affect on our lives and actions because in our society today, they help define our conception of normality (or in some cases perfection).
2. What do you think were the author's key points?
-Advertizing is a huge industry that plays many different roles in our modern society. "Plays an important role in the socialization of people young and old ...provides what might be called 'product knowledge'".
-Though according to some psychological studies, advertizing does not have an affect on people's psyches, companies continue to use it and measure success. It leaves a certain flavor in the subconscious, and this affect is big enough for it to continue.
- Television commercials are pieces of art and one should consider watching tv solely to observe them.
-"Commercials are part of ‘teleculture’, which is now probably the most enculturation and socializing force operating in society."
3. Why is it important to have a psychological understanding when it comes to advertising?
So as not to be misled by the statistics that indicate that advertising does not have an affect on people. People are persuaded in mysterious ways and they themselves do not always know what it is they want or need. Advertising influences cultural behavior and the collective unconscious, enough so to where it is still worth to the companies all the money put into it.
"There are several other excellent, action packed ads for light beer, featuring heavyweight boxers and huge football players who rip open beer cans as if they were hand grenades. Thus we males are reassures that drinking light beer will not make people think we are sissies."
The viewer looks to advertisements for reassurance. No matter how much we are opposed to idealistic and stereotypical commercials (housewives cleaning, men drinking beer...etc) that is what the companies behind the media want us to believe is the standard. And to a certain extent, if they say so, it's true. Therefore advertisements have an affect on our lives and actions because in our society today, they help define our conception of normality (or in some cases perfection).
2. What do you think were the author's key points?
-Advertizing is a huge industry that plays many different roles in our modern society. "Plays an important role in the socialization of people young and old ...provides what might be called 'product knowledge'".
-Though according to some psychological studies, advertizing does not have an affect on people's psyches, companies continue to use it and measure success. It leaves a certain flavor in the subconscious, and this affect is big enough for it to continue.
- Television commercials are pieces of art and one should consider watching tv solely to observe them.
-"Commercials are part of ‘teleculture’, which is now probably the most enculturation and socializing force operating in society."
3. Why is it important to have a psychological understanding when it comes to advertising?
So as not to be misled by the statistics that indicate that advertising does not have an affect on people. People are persuaded in mysterious ways and they themselves do not always know what it is they want or need. Advertising influences cultural behavior and the collective unconscious, enough so to where it is still worth to the companies all the money put into it.
Group Requirements
1. Award winning designs that suck!
-behavioral design is often over looked during the design process and building analysis
-codes and zoning don’t make up for behavioral design
-Frank Lloyd Whyte museum breaks the mold. CBS Tower: Over Designed
-Architecture and society: The Architecture Reader
2. Relates hand in hand to Norman’s behavioral, visceral and reflective feedback, mapping, visual clues (affordances)
Questions:
-What are examples of architectural design that you consider to be epic failures?
-Good, Bad, and Ugly. Choose a building on K campus and analyze its behavioral and visceral usability.
-What is the flaw in the current design process? How could this problem be fixed?
-behavioral design is often over looked during the design process and building analysis
-codes and zoning don’t make up for behavioral design
-Frank Lloyd Whyte museum breaks the mold. CBS Tower: Over Designed
-Architecture and society: The Architecture Reader
2. Relates hand in hand to Norman’s behavioral, visceral and reflective feedback, mapping, visual clues (affordances)
Questions:
-What are examples of architectural design that you consider to be epic failures?
-Good, Bad, and Ugly. Choose a building on K campus and analyze its behavioral and visceral usability.
-What is the flaw in the current design process? How could this problem be fixed?
Thesis
Thesis: The packaging of a product is often the persuading factor in a sale, often more so than the qualities of the product itself.
To: Skeptics of the importance and influence of advertizing
Some people consider themselves immune to the world of advertizing. When they enter into a grocery store looking for a product, they are convinced that the exterior of a product does not sway their choices; it is only the characteristics of what’s inside that matters. That is all well and good, for an idealist. But how logical is this claim? Taking into account our media driven and visually stimulated world, it is erroneous to assert that the packaging of a product would have no influence on its final sale. Often the exterior appearance of a product is the persuading factor, more so than the qualities of the product itself.
Before addressing the psychology behind people’s product choices though, it is necessary to analyze what makes a product’s package successful. According to Stacy King Gordon a marketing communication consultant, it must be simple, use bold and basic colors, and dare to be different.
To: Skeptics of the importance and influence of advertizing
Some people consider themselves immune to the world of advertizing. When they enter into a grocery store looking for a product, they are convinced that the exterior of a product does not sway their choices; it is only the characteristics of what’s inside that matters. That is all well and good, for an idealist. But how logical is this claim? Taking into account our media driven and visually stimulated world, it is erroneous to assert that the packaging of a product would have no influence on its final sale. Often the exterior appearance of a product is the persuading factor, more so than the qualities of the product itself.
Before addressing the psychology behind people’s product choices though, it is necessary to analyze what makes a product’s package successful. According to Stacy King Gordon a marketing communication consultant, it must be simple, use bold and basic colors, and dare to be different.
Saturday, November 14, 2009
Fashion Response
1. Why is fashion so reflective, when it could be purely functional and behavioral? (Why do people feel an impulse to express and redefine themselves through their cloths?)
The cloths people wear associate them with a certain ideology, wether consciously or unconsciously, fashion is an external expression of the internal. Physical adornments afford specific qualities. For example, if consumers buy and support a specific brand name, they are affiliating themselves with the quality or feeling that band projects; North face= expensive yet practical, Levi= comfortable, playful, and patriotic. The qualities are not only functional associations, but reflective as well.
2. Jones discusses the importance of time as it relates to fashion- why does fashion change and evolve, instead of remaining static and functional?
Because change is inevitable. People change, the economy changes, there are cultural shifts and social and political rise and fall... why should fashion be any different? A good industry moves with the times and accommodates the variant needs of the people.
3. Based on the reading, make a checklist of principles to consider when designing a garment.
-Does is fulfill a prevalent need: behavioral and utility.
-Will people want it? Does it make sense with the curve of the times? Does it fill a niche?
-Will people respond to the marketing?
The cloths people wear associate them with a certain ideology, wether consciously or unconsciously, fashion is an external expression of the internal. Physical adornments afford specific qualities. For example, if consumers buy and support a specific brand name, they are affiliating themselves with the quality or feeling that band projects; North face= expensive yet practical, Levi= comfortable, playful, and patriotic. The qualities are not only functional associations, but reflective as well.
2. Jones discusses the importance of time as it relates to fashion- why does fashion change and evolve, instead of remaining static and functional?
Because change is inevitable. People change, the economy changes, there are cultural shifts and social and political rise and fall... why should fashion be any different? A good industry moves with the times and accommodates the variant needs of the people.
3. Based on the reading, make a checklist of principles to consider when designing a garment.
-Does is fulfill a prevalent need: behavioral and utility.
-Will people want it? Does it make sense with the curve of the times? Does it fill a niche?
-Will people respond to the marketing?
Thursday, November 12, 2009
"Simplicity is Highly Overrated" By Donald Norman Response
1. Identify the thesis statement of this essay.
"Because the people want the features. Because simplicity is a myth whose time has past, if it ever existed."
2. Identify at least 3 points the author uses to support that thesis statement.
-"Haven’t you ever compared two products side by side, comparing the features of each, preferring the one that did more? Why shame on you, you are behaving, well, behaving like a normal person."
-"It appears that marketing won the day. And I suspect marketing was right. Would you pay more money for a washing machine with less controls? In the abstract, maybe. At the store? Probably not."
- "The complex expensive toaster? I bet it sells well."
3. If you were to write an essay on the same topic, but with an apposing argument, what would your thesis be?
People want simplicity in the products they buy; extra features are meaningless, confusing and do not factor in to the successful sale of a product.
"Because the people want the features. Because simplicity is a myth whose time has past, if it ever existed."
2. Identify at least 3 points the author uses to support that thesis statement.
-"Haven’t you ever compared two products side by side, comparing the features of each, preferring the one that did more? Why shame on you, you are behaving, well, behaving like a normal person."
-"It appears that marketing won the day. And I suspect marketing was right. Would you pay more money for a washing machine with less controls? In the abstract, maybe. At the store? Probably not."
- "The complex expensive toaster? I bet it sells well."
3. If you were to write an essay on the same topic, but with an apposing argument, what would your thesis be?
People want simplicity in the products they buy; extra features are meaningless, confusing and do not factor in to the successful sale of a product.
Sunday, November 8, 2009
Downtown
1. Write a short evaluation of Downtown Kalamazoo's business area using specific examples from Friday’s observations.
It was Friday afternoon and the mall strip was deserted. There are things that downtown is doing right, and things that it is doing wrong. Street: Pattered and colored bricks, rounded curb edges, very wide sidewalks. Specifically tailored to the needs of pedestrians in looks and function. Has character. Signposts: Functional yet aesthetically pleasing. Foliage: Just enough. Yet, often the store signs are hidden from view by it. There is a really good mix of stores there: fine shoes, sports, boutique, co-op grocer, coffee, nice restaurants, pizza. A lot of the stores are closed at off hours and even when open, are dark and uninviting. However, there are the few like Gazelle sports, that project an image of success, therefore are usually successful.
2. Give at least three recommendations to improve the downtown.
-The signs for automotive traffic could be larger and clearer. Or they could just get rid of all the one way streets becuase they are so confusing. If I drove a car here, I would be dissuaded to drive downtown because of how confuing it is to cars.
-Some of the stores could use clearer signage to communicate eactly what it is they do. Also the indoor mall, though it includes attractions like the organic grocery store, doesn't pull people in. It needs a more appealing and better labeled entrance.
-A lot of the store are just dead, and there are just too many banks. The numerous banks are almost ironic, or mocking in these economic times. If the city could afford it, the town could use more stores to fill up the empty spots.
3. Select a brief passage from the article about Robert Gibbs (“What Main Street Can Learn from the Mall” by Steven Lagerfeld) or the reading on public spaces (from City by William Whyte) and relate it to Kalamazoo’s downtown. Use specific observations from Kalamazoo to illustrate the point.
Disclaimer: The point that I am about to make may not fully answer this question but I find it so interesting that I am going to talk about it anyway.
"Movement attracts. Day in, day out, the best drawing display on Lexington Avenue is a pet shop with a window full of puppies and kittens".
About a month ago at the art hop downtown outside of one of the stores, there was a group of girls in ballet outfits advertising a certain studio in the area and their upcoming performance. The interesting thing about them was not necessarily what they were selling but how they were doing it. Each was wearing a neutral mask that completely covered the face. They stood in a group on the sidewalk with their masks, struck a pose, held it, then moved again. They were brilliantly located because there was not a way to pass them without looking. I was caught by their scheme for three reasons 1. You couldn't see their faces! There was an element of mystery that drew people in. 2. They moved, which relates to the quote from Whyte's article. 3. Occasionally they didn't move. You knew there was the potential that they might, and it was the waiting that was intriguing.
This weekend I experienced something similar to the masked girls when a couple of us from the Rhinoceros cast went down to the art hop (in a warehouse building, I don't remember the name) and tromped around like rhinos. We moved! And that is what caught people's attention. They didn't have to come to us, we were in their face before they could make the decision. It was easier to listen to our plug than not to.
It was Friday afternoon and the mall strip was deserted. There are things that downtown is doing right, and things that it is doing wrong. Street: Pattered and colored bricks, rounded curb edges, very wide sidewalks. Specifically tailored to the needs of pedestrians in looks and function. Has character. Signposts: Functional yet aesthetically pleasing. Foliage: Just enough. Yet, often the store signs are hidden from view by it. There is a really good mix of stores there: fine shoes, sports, boutique, co-op grocer, coffee, nice restaurants, pizza. A lot of the stores are closed at off hours and even when open, are dark and uninviting. However, there are the few like Gazelle sports, that project an image of success, therefore are usually successful.
2. Give at least three recommendations to improve the downtown.
-The signs for automotive traffic could be larger and clearer. Or they could just get rid of all the one way streets becuase they are so confusing. If I drove a car here, I would be dissuaded to drive downtown because of how confuing it is to cars.
-Some of the stores could use clearer signage to communicate eactly what it is they do. Also the indoor mall, though it includes attractions like the organic grocery store, doesn't pull people in. It needs a more appealing and better labeled entrance.
-A lot of the store are just dead, and there are just too many banks. The numerous banks are almost ironic, or mocking in these economic times. If the city could afford it, the town could use more stores to fill up the empty spots.
3. Select a brief passage from the article about Robert Gibbs (“What Main Street Can Learn from the Mall” by Steven Lagerfeld) or the reading on public spaces (from City by William Whyte) and relate it to Kalamazoo’s downtown. Use specific observations from Kalamazoo to illustrate the point.
Disclaimer: The point that I am about to make may not fully answer this question but I find it so interesting that I am going to talk about it anyway.
"Movement attracts. Day in, day out, the best drawing display on Lexington Avenue is a pet shop with a window full of puppies and kittens".
About a month ago at the art hop downtown outside of one of the stores, there was a group of girls in ballet outfits advertising a certain studio in the area and their upcoming performance. The interesting thing about them was not necessarily what they were selling but how they were doing it. Each was wearing a neutral mask that completely covered the face. They stood in a group on the sidewalk with their masks, struck a pose, held it, then moved again. They were brilliantly located because there was not a way to pass them without looking. I was caught by their scheme for three reasons 1. You couldn't see their faces! There was an element of mystery that drew people in. 2. They moved, which relates to the quote from Whyte's article. 3. Occasionally they didn't move. You knew there was the potential that they might, and it was the waiting that was intriguing.
This weekend I experienced something similar to the masked girls when a couple of us from the Rhinoceros cast went down to the art hop (in a warehouse building, I don't remember the name) and tromped around like rhinos. We moved! And that is what caught people's attention. They didn't have to come to us, we were in their face before they could make the decision. It was easier to listen to our plug than not to.
Thursday, November 5, 2009
Friday Prep
1. To what extent do Whyte and Gibbs approach city design from different perspectives? Do you find one more convincing than the other?
Gibbs sees things in a purely logistical way. I am not totally persuaded by his insights because I feel like he doesn't care about people, only sales. He sees his design improvements as ways to manipulate people's pockets, not their pleasure. Whyte's suggestions seem more focused on the overall shopping experience, and while he is concerned with the success of a sale, he sees where the real people come into the equation.
2. What elements of an urban area are particularly attractive to you? What elements repel you?
I personally love urban plans that include a lot of natural elements, for example flower pot hangings and trees lining the sidewalks. I don't care if they detract from optimum profit for the stores, I would much rather stroll down a street that includes nature. It provides a kind of relief from the overwhelming world of shopping. Streets that are not well-kept or look like they might attract "sketchy" people repel me. I would rather pay a little bit more for a nice experience, than be hassled for a good deal. I also like streets that have large enough sidewalks. Cars scare me... a lot... and I like to be as far from them as possible.
3. Describe egg experience: designing, building, and testing your egg container.
Our design was actually really spontaneous. I came up with the idea of a triangular prism in class as a way to protect the egg and we sort of went with it. Abby thought of the straws, which was brilliant. And then we talked about how we wanted to keep the egg in the prism. Suspending it seems like a really good idea because the egg would experience the least impact and required the least amount of other kinds of protection. Then we surrounded the egg in play dough to keep it stationary yet protected and we put it in a plastic container. This was the central vessel, which consisted of little or no air space so the egg could not more anywhere. I had packing tape which was strong, yet forgiving. It held everything in place really well. Then we added the parachute last so that the impact would be lessened and it would land on the side that the egg was not touching. I was pretty confident in our design... I just couldn't think of any improvements to it so I knew that it would at least be pretty successful. Low and behold, IT WORKED.
My Partner was Abby: http://www.blogger.com/profile/08150634254439690604
Gibbs sees things in a purely logistical way. I am not totally persuaded by his insights because I feel like he doesn't care about people, only sales. He sees his design improvements as ways to manipulate people's pockets, not their pleasure. Whyte's suggestions seem more focused on the overall shopping experience, and while he is concerned with the success of a sale, he sees where the real people come into the equation.
2. What elements of an urban area are particularly attractive to you? What elements repel you?
I personally love urban plans that include a lot of natural elements, for example flower pot hangings and trees lining the sidewalks. I don't care if they detract from optimum profit for the stores, I would much rather stroll down a street that includes nature. It provides a kind of relief from the overwhelming world of shopping. Streets that are not well-kept or look like they might attract "sketchy" people repel me. I would rather pay a little bit more for a nice experience, than be hassled for a good deal. I also like streets that have large enough sidewalks. Cars scare me... a lot... and I like to be as far from them as possible.
3. Describe egg experience: designing, building, and testing your egg container.
Our design was actually really spontaneous. I came up with the idea of a triangular prism in class as a way to protect the egg and we sort of went with it. Abby thought of the straws, which was brilliant. And then we talked about how we wanted to keep the egg in the prism. Suspending it seems like a really good idea because the egg would experience the least impact and required the least amount of other kinds of protection. Then we surrounded the egg in play dough to keep it stationary yet protected and we put it in a plastic container. This was the central vessel, which consisted of little or no air space so the egg could not more anywhere. I had packing tape which was strong, yet forgiving. It held everything in place really well. Then we added the parachute last so that the impact would be lessened and it would land on the side that the egg was not touching. I was pretty confident in our design... I just couldn't think of any improvements to it so I knew that it would at least be pretty successful. Low and behold, IT WORKED.
My Partner was Abby: http://www.blogger.com/profile/08150634254439690604
Tuesday, November 3, 2009
City Response
1. What do you feel were the author's key points in this chapter?
A well designed Main Street includes "Buildings flush to the sidewalk, stores along the frontage, doors and windows on the street". He says his key points outright, and then makes specific suggestions as to how these can be implemented afterwards.
2. Compare Whyte's ideas on design to Norman's concepts that we studied earlier. What's similar? What's different?
Norman's main concepts: Visceral, Behavioral, and Reflective Design. Norman categorizes most of his analysis into these three titles. He takes into account all aspects of the design by labeling its components. Whyte sees the world in much the same way that Norman does (taking into account all aspects of a design), but he chooses the overlying picture rather than breaking something down. Whyte seems to observe the OVERALL effect. For example "There's too much unified signage... too much good taste in general... and since many designers have the same good taste, the result is bland conformity. What's needed are simple benches, placed in relation to use." Whyte sees the symptom, and knows the cure. Norman sees the symptom, analyzes it, breaks it down, puts it back together, and then ventures a possible cure.
3. Create a checklist, based on Whyte's chapter, that could be used to analyze an urban area.
-Does the flow of traffic direct people into stores?
-Is it easier to go into a store than not to (entrance design)?
-There should be a diverse selection of stores. Design cohesiveness between stores is not necessary.
-Is what the store sells clear from the window?
-Does the store's location and advertising scheme benefit the stores around it?
-Essentials (trash can etc.) should be obviously provided. In addition, amenities such as drinking fountains and places to tie shoelaces are nice.
A well designed Main Street includes "Buildings flush to the sidewalk, stores along the frontage, doors and windows on the street". He says his key points outright, and then makes specific suggestions as to how these can be implemented afterwards.
2. Compare Whyte's ideas on design to Norman's concepts that we studied earlier. What's similar? What's different?
Norman's main concepts: Visceral, Behavioral, and Reflective Design. Norman categorizes most of his analysis into these three titles. He takes into account all aspects of the design by labeling its components. Whyte sees the world in much the same way that Norman does (taking into account all aspects of a design), but he chooses the overlying picture rather than breaking something down. Whyte seems to observe the OVERALL effect. For example "There's too much unified signage... too much good taste in general... and since many designers have the same good taste, the result is bland conformity. What's needed are simple benches, placed in relation to use." Whyte sees the symptom, and knows the cure. Norman sees the symptom, analyzes it, breaks it down, puts it back together, and then ventures a possible cure.
3. Create a checklist, based on Whyte's chapter, that could be used to analyze an urban area.
-Does the flow of traffic direct people into stores?
-Is it easier to go into a store than not to (entrance design)?
-There should be a diverse selection of stores. Design cohesiveness between stores is not necessary.
-Is what the store sells clear from the window?
-Does the store's location and advertising scheme benefit the stores around it?
-Essentials (trash can etc.) should be obviously provided. In addition, amenities such as drinking fountains and places to tie shoelaces are nice.
Sunday, November 1, 2009
Robert Gibbs Response
1. List the criteria Robert Gibbs uses to evaluate a Main Street
-Is there a generator (a big shot to draw people in)?
-Is is vehicle accessible and friendly?
-Does it follow logical affordances of location (turn to the right)?
- Store and merchandise are inviting and visible from the beginning (parking lot). Advertizes the logos.
-Nothing should detract from the sale. Being decorative is only good to a certain point.
2. Think critically of Gibbs’ argument. Do you think “Main Street” should be a mall?
He makes some very persuasive points. Having a flourishing main street is necessary for the success of a town. Also, I agree with some of the usability and advertizing arguments he makes, particularly displaying signs in an easily legible way and letting the store’s exterior reflect what they sell inside. However, I feel like he is biased when because of his profession. He only looks at what it takes to make the sale, and chooses to disregard amenities, like a park, that could add to overall pleasantness. He seems to see people as vehicles that can be manipulated with the right stimulus, and will accomplish the tasks he designed for them. The atmosphere of a mall feels so derived; I personally enjoy walking down Main Street and experiencing what it has to offer without that sort of fake feeling that Gibbs sometimes advocates.
3. Make your own checklist to judge a Main Street. What things do you think are important?
-A variety of shops. Well kept exteriors that advertize what it is they sell inside.
-Places to sit or eat outside.
-Take the Kalamazoo Mall Strip as an example of a vehicle-less successful Main Street. I enjoy the lack of cars. The mall is focused completely on its people customers. Display windows are detailed catered to the slower-paced passerby. The atmosphere is more relaxed. In addition, since there are no other distractions, people have the choice to focus on their shopping mission, or socialize in the street.
-Is there a generator (a big shot to draw people in)?
-Is is vehicle accessible and friendly?
-Does it follow logical affordances of location (turn to the right)?
- Store and merchandise are inviting and visible from the beginning (parking lot). Advertizes the logos.
-Nothing should detract from the sale. Being decorative is only good to a certain point.
2. Think critically of Gibbs’ argument. Do you think “Main Street” should be a mall?
He makes some very persuasive points. Having a flourishing main street is necessary for the success of a town. Also, I agree with some of the usability and advertizing arguments he makes, particularly displaying signs in an easily legible way and letting the store’s exterior reflect what they sell inside. However, I feel like he is biased when because of his profession. He only looks at what it takes to make the sale, and chooses to disregard amenities, like a park, that could add to overall pleasantness. He seems to see people as vehicles that can be manipulated with the right stimulus, and will accomplish the tasks he designed for them. The atmosphere of a mall feels so derived; I personally enjoy walking down Main Street and experiencing what it has to offer without that sort of fake feeling that Gibbs sometimes advocates.
3. Make your own checklist to judge a Main Street. What things do you think are important?
-A variety of shops. Well kept exteriors that advertize what it is they sell inside.
-Places to sit or eat outside.
-Take the Kalamazoo Mall Strip as an example of a vehicle-less successful Main Street. I enjoy the lack of cars. The mall is focused completely on its people customers. Display windows are detailed catered to the slower-paced passerby. The atmosphere is more relaxed. In addition, since there are no other distractions, people have the choice to focus on their shopping mission, or socialize in the street.
Monday, October 26, 2009
"Isn't it Ironic" and "The Power of the Box-Powerful Packing Design" Response
1. To what extent is packaging important in marketing a product? Give an example of how a package influenced your decision to buy (or not buy) something.
The packaging of a product is the initial impression. It serves the important purpose of drawing a consumer in. If the packaging wasn't there to catch the eye (even on a really wonderful product) then the sale would fail. I make an effort to switch my shampoo fairly often and always go on the lookout for cool looking yet affordable "new" products. Specifically I bought "Infusion" shampoo for just that reason: it caught my eye. Then I picked it up and smelled it, and had to buy it. The bottle is not only aesthetically pleasing and decently original, it is metallic silver. It gives off a modern edgy air, as if to say "we are not mainstream, but we are still really good at what we do".
2. What other products have iconic packaging?
The first thing that comes to mind is "Arm and Hammer" products: baking soda, detergent, etc. The logo is in the title, making it all the more recognizable. The package is bright orange with the iconic red circle surrounding the, wait for it, arm and hammer. Brilliant. That specific shade of orange is what makes this product so easily definable.
In my opinion, the Kashi label is iconic as well. The logo is so simple: the unique green shape with white negative space for the lettering. It communicates enough of what their healthy, go-green, message is that no other clutter is needed. The box itself may not be anything original, but what really catches my attention are the bars of color on the sides. They have a curve to them, so when one looks at the box from the front, it appears slimmer. Hence another message Kashi is putting across: one of the health conscious consumer.
3. What usability issues exist for packaging? Give examples of particularly good or bad packaging from a usability perspective.
Every time I buy some sort of new electronic device, say for example the cord that connects my laptop and camera, I struggle for a good 5-10 minutes opening the packaging. It is understandable that the plastic needs to be thick and plentiful for product protection, anti-thievery, and a few design purposes... but that doesn't explain why it is so darn hard to open. There are not even opening instructions on it. I attempted the scissor route, only to be literally impaled by sharp plastic. And then when I finally got down to the cardboard, it was attached by wire twistees which took some more gray-hair growing to undo. All in all, a painful and unnecessary process.
Also the grated cheese bags that have a tear-off top and underneath are zip up are usually rather frustrating. I usually tear the whole top off, including the zip up part, meaning I just undermined the design of the bag.
But now to the good: I had a trail mix bag a while ago that's packaging performed exactly as it should. I tore off the top and sturdily fixed underneath was the zip up device. It was wonderful. And I even appreciated it at the time too.
The packaging of a product is the initial impression. It serves the important purpose of drawing a consumer in. If the packaging wasn't there to catch the eye (even on a really wonderful product) then the sale would fail. I make an effort to switch my shampoo fairly often and always go on the lookout for cool looking yet affordable "new" products. Specifically I bought "Infusion" shampoo for just that reason: it caught my eye. Then I picked it up and smelled it, and had to buy it. The bottle is not only aesthetically pleasing and decently original, it is metallic silver. It gives off a modern edgy air, as if to say "we are not mainstream, but we are still really good at what we do".
2. What other products have iconic packaging?
The first thing that comes to mind is "Arm and Hammer" products: baking soda, detergent, etc. The logo is in the title, making it all the more recognizable. The package is bright orange with the iconic red circle surrounding the, wait for it, arm and hammer. Brilliant. That specific shade of orange is what makes this product so easily definable.
In my opinion, the Kashi label is iconic as well. The logo is so simple: the unique green shape with white negative space for the lettering. It communicates enough of what their healthy, go-green, message is that no other clutter is needed. The box itself may not be anything original, but what really catches my attention are the bars of color on the sides. They have a curve to them, so when one looks at the box from the front, it appears slimmer. Hence another message Kashi is putting across: one of the health conscious consumer.
3. What usability issues exist for packaging? Give examples of particularly good or bad packaging from a usability perspective.
Every time I buy some sort of new electronic device, say for example the cord that connects my laptop and camera, I struggle for a good 5-10 minutes opening the packaging. It is understandable that the plastic needs to be thick and plentiful for product protection, anti-thievery, and a few design purposes... but that doesn't explain why it is so darn hard to open. There are not even opening instructions on it. I attempted the scissor route, only to be literally impaled by sharp plastic. And then when I finally got down to the cardboard, it was attached by wire twistees which took some more gray-hair growing to undo. All in all, a painful and unnecessary process.
Also the grated cheese bags that have a tear-off top and underneath are zip up are usually rather frustrating. I usually tear the whole top off, including the zip up part, meaning I just undermined the design of the bag.
But now to the good: I had a trail mix bag a while ago that's packaging performed exactly as it should. I tore off the top and sturdily fixed underneath was the zip up device. It was wonderful. And I even appreciated it at the time too.
Sunday, October 25, 2009
Retail Analysis
1. What store did you observe? Who do they market to?
I visited Stewart Clarke Fine Furniture and Interior Design. They market to upper-middle class adults (28+), most likely families or couples with a little more room in their houses.
2. Briefly describe the following
a. appearance of store entrance (from outside)
http://www.stewartclarkefurniture.com/images/photos/storefront_medium.jpg
Looks decently inviting. Neat, clean, white, well kept. Gives off an air of professionalism and invitation. Yet, it does not stand out from its surroundings.
b. sounds (inside the store)
Smooth jazz. Unobtrusive and nearly forgettable yet communicates a pleasant homey vibe.
c. how merchandise is displayed
At first glance, the store looks like the furniture gods threw-up. Yet once one makes the commitment of walking through the store, isles become clearer and one realizes that they are being taken on a kind of themed journey. Couches, chairs, carpets, and dressers are arranged in aesthetically pleasing arrangements (how-to set ups) and as one ventures deeper into the store, walls start to separate and define the arrangements.
d. floors
Carpet. Beige carpet. A good neutral, but at times I imagine that hard-wood floors would be more appealing. They also put patterned rugs over the carpet in places to complete a certain look or set-up.
e. signs
The logo for the store is incredibly simple, maybe even a bit boring. It is dark green and small, and from the street, almost illegible. There are signs around the store to indicate prices, all are clearly visible (they are very conscious that their prices be/or appear to be fair).
f. cashier area
It is in the VERY BACK of the store. But this is the kind of retailer where the sales-person brings the sale to the customer, not vice-versa. Therefore, there are tables in strategic locations around the store where deals can be made.
3. What image does this business try to project? Give specific examples of design elements that reflect this image.
This store wants its customers to feel like they are shopping at home (or to see the potential of how great their home could look). All items are sit-able, touchable, and accessible once in the "zone" of the store. Everything from the lighting tint and light fixtures to the material color palette and the wallpaper have a soft neutral hew. Beige, green, white, blue, and brown are frequented among the designs. Even the outside of the store looks like a home. They want to seem classy, yet low key.
4. How did customers interact with various elements of the store's design?
I touched everything. I sat on the soft chair and fingered the fake flowers in the glass vase and then ran my hand along the textured desk. Everything FELT beautiful and new and well cared for. They must expect this kind of behavior because people intimately interact with their furniture on a day-to-day basis. They WANT people to feel and experience their products, one of their best marketing strategies I'm sure.
5. What did you find interesting about the design of this store?
There is not a transition place between the street and the store. Immediately upon entering, I felt the heating, the change in lighting, and the musical ambiance. Everything was pleasant except for the change in temperature. Also, even though the exterior of the store sports large windows, there was little if any displays in them. I saw the back of a couch and their tiny logo from the street.
I visited Stewart Clarke Fine Furniture and Interior Design. They market to upper-middle class adults (28+), most likely families or couples with a little more room in their houses.
2. Briefly describe the following
a. appearance of store entrance (from outside)
http://www.stewartclarkefurniture.com/images/photos/storefront_medium.jpg
Looks decently inviting. Neat, clean, white, well kept. Gives off an air of professionalism and invitation. Yet, it does not stand out from its surroundings.
b. sounds (inside the store)
Smooth jazz. Unobtrusive and nearly forgettable yet communicates a pleasant homey vibe.
c. how merchandise is displayed
At first glance, the store looks like the furniture gods threw-up. Yet once one makes the commitment of walking through the store, isles become clearer and one realizes that they are being taken on a kind of themed journey. Couches, chairs, carpets, and dressers are arranged in aesthetically pleasing arrangements (how-to set ups) and as one ventures deeper into the store, walls start to separate and define the arrangements.
d. floors
Carpet. Beige carpet. A good neutral, but at times I imagine that hard-wood floors would be more appealing. They also put patterned rugs over the carpet in places to complete a certain look or set-up.
e. signs
The logo for the store is incredibly simple, maybe even a bit boring. It is dark green and small, and from the street, almost illegible. There are signs around the store to indicate prices, all are clearly visible (they are very conscious that their prices be/or appear to be fair).
f. cashier area
It is in the VERY BACK of the store. But this is the kind of retailer where the sales-person brings the sale to the customer, not vice-versa. Therefore, there are tables in strategic locations around the store where deals can be made.
3. What image does this business try to project? Give specific examples of design elements that reflect this image.
This store wants its customers to feel like they are shopping at home (or to see the potential of how great their home could look). All items are sit-able, touchable, and accessible once in the "zone" of the store. Everything from the lighting tint and light fixtures to the material color palette and the wallpaper have a soft neutral hew. Beige, green, white, blue, and brown are frequented among the designs. Even the outside of the store looks like a home. They want to seem classy, yet low key.
4. How did customers interact with various elements of the store's design?
I touched everything. I sat on the soft chair and fingered the fake flowers in the glass vase and then ran my hand along the textured desk. Everything FELT beautiful and new and well cared for. They must expect this kind of behavior because people intimately interact with their furniture on a day-to-day basis. They WANT people to feel and experience their products, one of their best marketing strategies I'm sure.
5. What did you find interesting about the design of this store?
There is not a transition place between the street and the store. Immediately upon entering, I felt the heating, the change in lighting, and the musical ambiance. Everything was pleasant except for the change in temperature. Also, even though the exterior of the store sports large windows, there was little if any displays in them. I saw the back of a couch and their tiny logo from the street.
Tuesday, October 13, 2009
"The Science of Shopping" Response
1. What points from this article do you feel are most important?
The average shopper is uber-sensitive to their surroundings.
People cannot accurately predict how they best want to be served (we always go to the right, we need a place that makes us feel at ease, we want people around but not too many)
Designers should analyze people's actual tendencies and needs, accommodate them, and then take advantage of them for best shopping results.
People have different tendencies (men are impulsive, women shop with a list, etc) , yet they can be analyzed closely and their preferred purchases can be predicted.
2. How much do you personally feel you are influenced by a store's design?
Something specific that I have noticed for myself is that I have the odd tendency to turn left when entering a building instead of right, no matter the design. For the longest time, I made the incorrect turn on the way down to the Trow laundry room and had to re-trace my steps.
But in general, I feel very manipulated by the way a store is laid out. Whenever I go into a grocery store, it is always obnoxious that milk is way in the back (yet I love how fruit is in the front). In a clothing store, for example Holister, instead of reacting positively to the stimulus (loud music, dark, smells odd) I find it intimidating...yet I am still influenced by it. I know that if I ever did make it all the way into that store and purchase something, it would say something about me. A store's design is not only the atmosphere, but the image it projects that flows through the isles and right out the door with its customers. If the design noes not influence the customer, than the store has failed.
3. Make a check list you could use to analyze a retail store like Paco Underhill does.
Is there a hook that draws the potential customer's attention (maybe in a display window)? The moment they enter the door, are the flow and atmosphere communicated? Are they coherent with the type of retail and type of customers that will buy the merchandise? ARE ALL OF THE CUSTOMERS NEEDS MET (matched items for men, layouts for women, wide isles, good customer service etc.)??? Does the design meet the needs of the store (is merchandise laid out in the optimum way, are the 'go to' items in the back, etc)?
The average shopper is uber-sensitive to their surroundings.
People cannot accurately predict how they best want to be served (we always go to the right, we need a place that makes us feel at ease, we want people around but not too many)
Designers should analyze people's actual tendencies and needs, accommodate them, and then take advantage of them for best shopping results.
People have different tendencies (men are impulsive, women shop with a list, etc) , yet they can be analyzed closely and their preferred purchases can be predicted.
2. How much do you personally feel you are influenced by a store's design?
Something specific that I have noticed for myself is that I have the odd tendency to turn left when entering a building instead of right, no matter the design. For the longest time, I made the incorrect turn on the way down to the Trow laundry room and had to re-trace my steps.
But in general, I feel very manipulated by the way a store is laid out. Whenever I go into a grocery store, it is always obnoxious that milk is way in the back (yet I love how fruit is in the front). In a clothing store, for example Holister, instead of reacting positively to the stimulus (loud music, dark, smells odd) I find it intimidating...yet I am still influenced by it. I know that if I ever did make it all the way into that store and purchase something, it would say something about me. A store's design is not only the atmosphere, but the image it projects that flows through the isles and right out the door with its customers. If the design noes not influence the customer, than the store has failed.
3. Make a check list you could use to analyze a retail store like Paco Underhill does.
Is there a hook that draws the potential customer's attention (maybe in a display window)? The moment they enter the door, are the flow and atmosphere communicated? Are they coherent with the type of retail and type of customers that will buy the merchandise? ARE ALL OF THE CUSTOMERS NEEDS MET (matched items for men, layouts for women, wide isles, good customer service etc.)??? Does the design meet the needs of the store (is merchandise laid out in the optimum way, are the 'go to' items in the back, etc)?
Sunday, October 11, 2009
"Biggest Mistakes" Response
1. How does this reading relate to the concept of user-focused design that we have discussed in class?
Vincent Flanders constantly chants the mantra, "The only reason this website exists is to solve other people's problems." Websites are created with a purpose; to accommodate the customers needs. If the maker is too caught up in the superficial and impressive nature of his/her website, it is probable that the customer will be forgotten and unsatisfied. All design elements that we have been discussing in class (proper affordances, visceral/behavioral/reflective appeal, etc.) should be in place for the website to function to its highest quality.
2. What points do you feel are most important?
The website goal and purpose needs to be ridiculously obvious.
The information should be designed in an easily navigable way without distractions.
Contrast!!!
Use extraneous embellishment carefully and intentionally.
Content is key. Without content, there is nothing.
3. Create your own list of important design factors for a webpage.
I feel very content with the list that Flanders provides. He speaks from a very educated stand point. I, on the other hand, know very little about the logistics of web design and when he refers to things such as tableless CSS, I am completely lost.
My ultimate web design factors would have to include simplicity and clarity, with a modern edge. There is nothing like logging in to a site and knowing immediately that it looks 10 year old. Therefore 1. Un-complex, easy for the average Joe. 2. Images that support the topic, but not too many. 3. Everything does exactly what it says it will (links go where they should, etc.) 4. Updates often. 5. Provides a valuable service to the customer.
Vincent Flanders constantly chants the mantra, "The only reason this website exists is to solve other people's problems." Websites are created with a purpose; to accommodate the customers needs. If the maker is too caught up in the superficial and impressive nature of his/her website, it is probable that the customer will be forgotten and unsatisfied. All design elements that we have been discussing in class (proper affordances, visceral/behavioral/reflective appeal, etc.) should be in place for the website to function to its highest quality.
2. What points do you feel are most important?
The website goal and purpose needs to be ridiculously obvious.
The information should be designed in an easily navigable way without distractions.
Contrast!!!
Use extraneous embellishment carefully and intentionally.
Content is key. Without content, there is nothing.
3. Create your own list of important design factors for a webpage.
I feel very content with the list that Flanders provides. He speaks from a very educated stand point. I, on the other hand, know very little about the logistics of web design and when he refers to things such as tableless CSS, I am completely lost.
My ultimate web design factors would have to include simplicity and clarity, with a modern edge. There is nothing like logging in to a site and knowing immediately that it looks 10 year old. Therefore 1. Un-complex, easy for the average Joe. 2. Images that support the topic, but not too many. 3. Everything does exactly what it says it will (links go where they should, etc.) 4. Updates often. 5. Provides a valuable service to the customer.
Thursday, October 8, 2009
"Know It All" Response
1. What do you think are the author's main points in this article?
The communal design of Wikipedia affords a vast quantity of knowledge never available before the internet, yet there are still many glitches in its functions. Wikipedia intends to provide decently reliable information to an immense and culturally diverse audience. The design of the website is nowhere near perfect. Problems include: many Wikipedians now concentrate more on stocking up on their editing points with small corrections than actually benefiting the site, vandals and uneducated editors plague articles, and Wikipedians dispute over the true facts of an issue.
2. An important part of credible writing is selecting good supporting evidence. Select a passage from this article that illustrates the effective use of supporting detail. Explain why you think it is particularily effective.
"Part of the problem is provenance. The bulk of Wikipedia’s content originates not in the stacks but on the Web, which offers up everything from breaking news, spin, and gossip to proof that the moon landings never took place. Glaring errors jostle quiet omissions. Wales, in his public speeches, cites the Google test: “If it isn’t on Google, it doesn’t exist.” This position poses another difficulty: on Wikipedia, the present takes precedent over the past. The (generally good) entry on St. Augustine is shorter than the one on Britney Spears."
This paragraph admits that many users use the internet as their soul source of choice; the internet, as the quote states, is run with unscholarly and unreliable work. It is important to search for literary and printed sources because their permanence, detail, and validity is invaluable. I personally have searched google a number of times and not found what I am looking for (most commonly for little-known or contemporary plays and their authors.)
3. Throughout the article, the author compares Wikipedia to the Encyclopedia Britannica, but not specifically on design. How would you compare the two encyclopedias from a design perspective?
Wikipedia: Relies heavily on simplicity. The background is white. Pages can go on and on, but organization outline at the beginning is very useful. Easy to return to the home page. Right-hand side bar with pictures and general information is very helpful. Free, no advertisements.
Encyclopedia Britannica (website): Blue color attracts eye. Easy to search. Has adapted to the Wiki trend of general people editing by having a "suggested edit" button. Difficult to return to the home page. Requires you to be logged in / to pay to look at a lot of things. Distracting 'premium members' pop-up and other ads.
The communal design of Wikipedia affords a vast quantity of knowledge never available before the internet, yet there are still many glitches in its functions. Wikipedia intends to provide decently reliable information to an immense and culturally diverse audience. The design of the website is nowhere near perfect. Problems include: many Wikipedians now concentrate more on stocking up on their editing points with small corrections than actually benefiting the site, vandals and uneducated editors plague articles, and Wikipedians dispute over the true facts of an issue.
2. An important part of credible writing is selecting good supporting evidence. Select a passage from this article that illustrates the effective use of supporting detail. Explain why you think it is particularily effective.
"Part of the problem is provenance. The bulk of Wikipedia’s content originates not in the stacks but on the Web, which offers up everything from breaking news, spin, and gossip to proof that the moon landings never took place. Glaring errors jostle quiet omissions. Wales, in his public speeches, cites the Google test: “If it isn’t on Google, it doesn’t exist.” This position poses another difficulty: on Wikipedia, the present takes precedent over the past. The (generally good) entry on St. Augustine is shorter than the one on Britney Spears."
This paragraph admits that many users use the internet as their soul source of choice; the internet, as the quote states, is run with unscholarly and unreliable work. It is important to search for literary and printed sources because their permanence, detail, and validity is invaluable. I personally have searched google a number of times and not found what I am looking for (most commonly for little-known or contemporary plays and their authors.)
3. Throughout the article, the author compares Wikipedia to the Encyclopedia Britannica, but not specifically on design. How would you compare the two encyclopedias from a design perspective?
Wikipedia: Relies heavily on simplicity. The background is white. Pages can go on and on, but organization outline at the beginning is very useful. Easy to return to the home page. Right-hand side bar with pictures and general information is very helpful. Free, no advertisements.
Encyclopedia Britannica (website): Blue color attracts eye. Easy to search. Has adapted to the Wiki trend of general people editing by having a "suggested edit" button. Difficult to return to the home page. Requires you to be logged in / to pay to look at a lot of things. Distracting 'premium members' pop-up and other ads.
Thursday, October 1, 2009
"Organization and Preparation Tips" Response
1. What do you think are the author's three most important points?
1. The presentation needs to be based on content and directed towards on overlying point 2. You need to thoroughly prepare so that you could do the presentation at the drop of a hat 3. You need to be confident on yourself to make the presentation affective.
2. How might you apply his advice to your own presentation?
First we should figure out specifically what point we want to get across and how we will organize our thoughts before we start the Powerpoint. We also need to consider how educated our audience is and gauge the presentation for them. Adding an anecdote would be nice, if we can make it fit in.
3. What do you think presentation has in common with product design?
If the product design is strong, the presentation has a solid base to bounce from. Often times, the presentation will be a pitch to get the product off the ground and built, so the design needs to be worthwhile for the presentation to succeed. It should also be tailored to the needs of the product (i.e. if the item is small, visible pictures need to be included in the slideshow. If it is breakable, some kind of showcase is necessary).
1. The presentation needs to be based on content and directed towards on overlying point 2. You need to thoroughly prepare so that you could do the presentation at the drop of a hat 3. You need to be confident on yourself to make the presentation affective.
2. How might you apply his advice to your own presentation?
First we should figure out specifically what point we want to get across and how we will organize our thoughts before we start the Powerpoint. We also need to consider how educated our audience is and gauge the presentation for them. Adding an anecdote would be nice, if we can make it fit in.
3. What do you think presentation has in common with product design?
If the product design is strong, the presentation has a solid base to bounce from. Often times, the presentation will be a pitch to get the product off the ground and built, so the design needs to be worthwhile for the presentation to succeed. It should also be tailored to the needs of the product (i.e. if the item is small, visible pictures need to be included in the slideshow. If it is breakable, some kind of showcase is necessary).
Tuesday, September 29, 2009
"Emotional Design" Response 2
1. Select a brief passage from Chapter Three "Emotional Design" by Donald Norman and post it on your blog. Explain why you thought it was interesting?
"Usability os a complex topic. A product that does what is required and is understandable, may still not be usable. Thus, guitars and violins do their assigned tasks well (that is, create music), they are quite simple to understand, but they are very difficult to use. The same is true of the piano, a deceptively simple looking instrument. Musical instruments take years of dedicated practice to be used properly, and even then, errors and poor performance are common among nonprofessionals. The relative usability of musical instruments is accepted, in part because we know of no other alternative, in part because the results are so worthwhile." This passage strikes me as particularly interesting, even though it is not one of the main points that Norman is making. The design of musical instruments are specifically tailored to a. make a certain sound and type of music, and b. to allow the user to utilize it with the greatest ease possible. That does not mean that all instruments are simple (look at the organ for example), but they are necessarily complicated for the type of desired sound. We tolerate the difficulties of instruments (and even the fallacies of their designs) because we have yet to find a better way. There is room to expand upon this topic... possibly a niche market?
2. Norman uses the terms Visceral Design, Behavioral Design, Reflective Design. Do these catagories seem useful to you? Would other names or phrases make the catagories clearer?
Visceral is affective because it implies the "gut response". I relate to Behavioral as well, because it implies the actions and inherent functions of the object. Reflective, however is a bit confusing because you can reflect on many things. It's un-specificity, though, may be intentional... after all the reflective property is the hardest of a ll three to define.
3. How could a designer decide if Visceral Design, Behavioral Design, or Reflective Design is more important for a particular product? Are some types of products more visceral, behavioral, or reflective?
Depending on the audience the product is intended for, the emotional appeal will vary. People of an older age and more money to spend (specifically middle aged men) will be more likely to buy a decked out, viscerally attractive, sports car than a 15 year old girl. People of a certain profession will be more attracted to behaviorally sufficient products because they have a specific use for them (i.e. a Mechanic will need a wrench more often than a lawyer). Everyone, above the age of about 3 or 4, is attracted to reflective items. "Mommy, I want the red toy because Billy has one."- Ben, age 7 "I shop at American Eagle because it is just so 'in'."-Fran, age 14. "I am going to buy the Webber grill because it will not only make us more popular with the neighbors, but I'll look at it and feel more manly". -Rod, age 57.
"Usability os a complex topic. A product that does what is required and is understandable, may still not be usable. Thus, guitars and violins do their assigned tasks well (that is, create music), they are quite simple to understand, but they are very difficult to use. The same is true of the piano, a deceptively simple looking instrument. Musical instruments take years of dedicated practice to be used properly, and even then, errors and poor performance are common among nonprofessionals. The relative usability of musical instruments is accepted, in part because we know of no other alternative, in part because the results are so worthwhile." This passage strikes me as particularly interesting, even though it is not one of the main points that Norman is making. The design of musical instruments are specifically tailored to a. make a certain sound and type of music, and b. to allow the user to utilize it with the greatest ease possible. That does not mean that all instruments are simple (look at the organ for example), but they are necessarily complicated for the type of desired sound. We tolerate the difficulties of instruments (and even the fallacies of their designs) because we have yet to find a better way. There is room to expand upon this topic... possibly a niche market?
2. Norman uses the terms Visceral Design, Behavioral Design, Reflective Design. Do these catagories seem useful to you? Would other names or phrases make the catagories clearer?
Visceral is affective because it implies the "gut response". I relate to Behavioral as well, because it implies the actions and inherent functions of the object. Reflective, however is a bit confusing because you can reflect on many things. It's un-specificity, though, may be intentional... after all the reflective property is the hardest of a ll three to define.
3. How could a designer decide if Visceral Design, Behavioral Design, or Reflective Design is more important for a particular product? Are some types of products more visceral, behavioral, or reflective?
Depending on the audience the product is intended for, the emotional appeal will vary. People of an older age and more money to spend (specifically middle aged men) will be more likely to buy a decked out, viscerally attractive, sports car than a 15 year old girl. People of a certain profession will be more attracted to behaviorally sufficient products because they have a specific use for them (i.e. a Mechanic will need a wrench more often than a lawyer). Everyone, above the age of about 3 or 4, is attracted to reflective items. "Mommy, I want the red toy because Billy has one."- Ben, age 7 "I shop at American Eagle because it is just so 'in'."-Fran, age 14. "I am going to buy the Webber grill because it will not only make us more popular with the neighbors, but I'll look at it and feel more manly". -Rod, age 57.
Sunday, September 27, 2009
"Emotional Design" Response
1. What do you feel were the author's key points in this chapter?
The article prefaces the definitions of visceral, behavioral, and reflective emotional designs. It then takes those emotional design elements a step further and shows their practical implimentation and connection to the previous chapter's points. The chapter climaxes with this point: "If you want a successful product, test and revise. If you want a great product, one that can change the world, let it be driven by someone with a clear vision. The latter presents more financial risk, but it is the only path to greatness." People don't really know what kind of potential product they might want unless it is sitting right in fron of them. Surveys and questionares are useless, the only way to get a reaction is revise revise revise (this is applicable for behavioral design only.)
2. How does this chapter compare to the earlier writing (The Design of Everyday Things) by the same author?
It takes the psychological approach a step further. Something that I find interesting that Norman covers more fully in this chapter are the marketing techniques for different stores. The first chapter adressed the qualities which make a product and advertizing scheme good (duribilty, etc.) Now, he offers insights into the ways in which designers and sales people manipluate their customers using all afore mentioned aspects.
3. Give examples, from your own experience, of 1) something that succeeds as Visceral Design, 2) something that succeeds as Behavioral Design, and 3) Reflective Design success? What do you think makes each thing successful?
1) A pair of Buckle jeans that I have, to me, succeed as visceral design. They are "designer jeans", i.e. the pockets are embellished for no reason other than appearance and cost an arm and a leg too much. Yet even know the price and the fact that they would probably fall apart after a while of good ware, I bought them... because they "just looked so good".
2) My Chaco sandals, in my opinion, are just about the ugliest shoe to ever grace the market. Their large rubber sole makes them look like the aftermath of a beach shoe/hiking boot collision. Yet, they are the most function and wonderful water shoe I have ever worn. I bought them because I spent my summer leading tubing and rafting trips down the Sandy River, and needed something that would never fall off my feet and wouldn't be too heavy to swim in.
3) After seeing the play Wicked, I bought a t-shirt (overly priced as it was) at the stand outside of the door. I did this for two reasons: 1. So I would remember the experience and cherish the event, and 2. So other people would know I had seen the play, making me seem "cool" and like a very theatrically adept person.
The article prefaces the definitions of visceral, behavioral, and reflective emotional designs. It then takes those emotional design elements a step further and shows their practical implimentation and connection to the previous chapter's points. The chapter climaxes with this point: "If you want a successful product, test and revise. If you want a great product, one that can change the world, let it be driven by someone with a clear vision. The latter presents more financial risk, but it is the only path to greatness." People don't really know what kind of potential product they might want unless it is sitting right in fron of them. Surveys and questionares are useless, the only way to get a reaction is revise revise revise (this is applicable for behavioral design only.)
2. How does this chapter compare to the earlier writing (The Design of Everyday Things) by the same author?
It takes the psychological approach a step further. Something that I find interesting that Norman covers more fully in this chapter are the marketing techniques for different stores. The first chapter adressed the qualities which make a product and advertizing scheme good (duribilty, etc.) Now, he offers insights into the ways in which designers and sales people manipluate their customers using all afore mentioned aspects.
3. Give examples, from your own experience, of 1) something that succeeds as Visceral Design, 2) something that succeeds as Behavioral Design, and 3) Reflective Design success? What do you think makes each thing successful?
1) A pair of Buckle jeans that I have, to me, succeed as visceral design. They are "designer jeans", i.e. the pockets are embellished for no reason other than appearance and cost an arm and a leg too much. Yet even know the price and the fact that they would probably fall apart after a while of good ware, I bought them... because they "just looked so good".
2) My Chaco sandals, in my opinion, are just about the ugliest shoe to ever grace the market. Their large rubber sole makes them look like the aftermath of a beach shoe/hiking boot collision. Yet, they are the most function and wonderful water shoe I have ever worn. I bought them because I spent my summer leading tubing and rafting trips down the Sandy River, and needed something that would never fall off my feet and wouldn't be too heavy to swim in.
3) After seeing the play Wicked, I bought a t-shirt (overly priced as it was) at the stand outside of the door. I did this for two reasons: 1. So I would remember the experience and cherish the event, and 2. So other people would know I had seen the play, making me seem "cool" and like a very theatrically adept person.
Wednesday, September 23, 2009
"The Design of Everyday Things" Response 2
1. Select a brief passage from Chapter One of "The Design of Everyday Things" and post it on your blog. Explain why you thought it was interesting.
"Affordances provide strong clues to the operations of things. Plates are for pushing. Knobs are for turning. Slots are for inserting things into. Balls are for throwing or bouncing. When affordances are taken advantage of, the user knows what to do by looking: no picture, label, or instruction is required. Complex things may require explanation, but simple things should not. When simple things need pictures, labels, or instructions, the design has failed."
This passage was particularly interesting to me because it sparked many questions in my head. First of all, what if the designer avoids the natural affordances of his/her materials and creates something intentionally divergent, or as Norman might put it, difficult? One might consider this artistic. Wouldn't there be a way to play with the natural affordances of material in a way that does not detract from the functionality of the product? The glass train car was functional, and people understood how to use it. I feel like the only way to really make developments on a product are to search and stretch it's limits. After all, rolling and bouncing are not the only uses for a ball. Consider the ball and socket design; the ball is neither rolling nor bouncing yet it is one of the most useful innovations ever designed, affecting science and industry all over the world.
2. Norman's book was first published in 1988 and it still influences designers today. Why do you think this book continues to be influential 20 years later?
Even though people demand different types of products than they did 20 years ago, we still want the same qualifications in a product. Norman addresses the psychology of objects, and in the past 20 years, that psychology has not diverted. What someone might have wanted 20 years ago in a brand new TV (durability, status, functionality, etc.) we might want today for our new iPhone. All of the design principles that Norman touches upon, visibility, appropriate clues, feedback, natural affordances etc., still need to be present. In my opinion, Norman over exaggerates the effects of bad design on our everyday lives (i.e. it's not such a big deal if I don't understand which way the door opens the first time...I'll just try again then move on) but the way he describes how good design affects our lives is very prevalent. One always appreciates when something is easy and works exactly like it looks like it should.
3. Based on this chapter, what factors would you include on a checklist for evaluating the design of a product?
Will it withstand the test of time? Are its functions visible? Are the affordances of the materials taken advantage of? Is there feedback when an action is performed? Is it simple enough for the everyday Joe? Are its dimensions, colors, weight, and all other visual aspects appropriate to its function? Would it be appealing to a customer? Does it fill a gap in the current market?
Cheers,
Megan
"Affordances provide strong clues to the operations of things. Plates are for pushing. Knobs are for turning. Slots are for inserting things into. Balls are for throwing or bouncing. When affordances are taken advantage of, the user knows what to do by looking: no picture, label, or instruction is required. Complex things may require explanation, but simple things should not. When simple things need pictures, labels, or instructions, the design has failed."
This passage was particularly interesting to me because it sparked many questions in my head. First of all, what if the designer avoids the natural affordances of his/her materials and creates something intentionally divergent, or as Norman might put it, difficult? One might consider this artistic. Wouldn't there be a way to play with the natural affordances of material in a way that does not detract from the functionality of the product? The glass train car was functional, and people understood how to use it. I feel like the only way to really make developments on a product are to search and stretch it's limits. After all, rolling and bouncing are not the only uses for a ball. Consider the ball and socket design; the ball is neither rolling nor bouncing yet it is one of the most useful innovations ever designed, affecting science and industry all over the world.
2. Norman's book was first published in 1988 and it still influences designers today. Why do you think this book continues to be influential 20 years later?
Even though people demand different types of products than they did 20 years ago, we still want the same qualifications in a product. Norman addresses the psychology of objects, and in the past 20 years, that psychology has not diverted. What someone might have wanted 20 years ago in a brand new TV (durability, status, functionality, etc.) we might want today for our new iPhone. All of the design principles that Norman touches upon, visibility, appropriate clues, feedback, natural affordances etc., still need to be present. In my opinion, Norman over exaggerates the effects of bad design on our everyday lives (i.e. it's not such a big deal if I don't understand which way the door opens the first time...I'll just try again then move on) but the way he describes how good design affects our lives is very prevalent. One always appreciates when something is easy and works exactly like it looks like it should.
3. Based on this chapter, what factors would you include on a checklist for evaluating the design of a product?
Will it withstand the test of time? Are its functions visible? Are the affordances of the materials taken advantage of? Is there feedback when an action is performed? Is it simple enough for the everyday Joe? Are its dimensions, colors, weight, and all other visual aspects appropriate to its function? Would it be appealing to a customer? Does it fill a gap in the current market?
Cheers,
Megan
Monday, September 21, 2009
"The Design of Everyday Things" Response
1. What do you feel were the author' key points in this chapter?
Visibility is a key component in design. When the effect of a function is visible, it becomes easier and more natural to learn.
In addition designers should take into account the materials with which they use because of the automatically associated response to that material. That also applies to certain parts which indicate a function (i.e. a handle indicates pull).
People need affirmation that their actions are having an effect. Therefore, a good design must include an obvious cause and effect pattern.
2. Think of a specific object that you have had difficulty using. How did design contribute to making it difficult to use? Does the usability problem arise from one of the principles that Norman discusses in this chapter?
There are a set of doors that one comes across when exiting DOW hall that I would consider poorly designed. The problem that I find is that the first door opens swinging to the left, while the second door opens swinging to the right. The first time I tried to get out of the building, I misjudged the first door, then corrected myself, but then proceeded to misjudge the second door as well. Now, I do not consider myself a particularly coordinated person, but I feel that that little door fiasco could have been avoided had the design been improved.
The problem was with visibility, exactly as Norman points out. The fact that the door needs to be pushed rather than pulled is obvious due to the lack of a prominent handle, yet the hinges are invisible. It is almost a better strategy to run into the door full on and see which way your weight persuades it to swing, an unprofitable strategy for one's health.
3. How did the designers of the iPod address the principles that Norman discusses here?
The iPod contains a very handy feature called a Menu, which Norman himself suggested for the intricately absurd phone at his work. The menu serves the purpose of visibility and mapping. Even though there are not many labeled buttons on the iPod, the Menu allows the consumer to see exactly what they are doing and understand the effect of their actions. It is simple (the original iPod at least), even minimalist, yet still user-friendly.
Cheers,
Megan
Visibility is a key component in design. When the effect of a function is visible, it becomes easier and more natural to learn.
In addition designers should take into account the materials with which they use because of the automatically associated response to that material. That also applies to certain parts which indicate a function (i.e. a handle indicates pull).
People need affirmation that their actions are having an effect. Therefore, a good design must include an obvious cause and effect pattern.
2. Think of a specific object that you have had difficulty using. How did design contribute to making it difficult to use? Does the usability problem arise from one of the principles that Norman discusses in this chapter?
There are a set of doors that one comes across when exiting DOW hall that I would consider poorly designed. The problem that I find is that the first door opens swinging to the left, while the second door opens swinging to the right. The first time I tried to get out of the building, I misjudged the first door, then corrected myself, but then proceeded to misjudge the second door as well. Now, I do not consider myself a particularly coordinated person, but I feel that that little door fiasco could have been avoided had the design been improved.
The problem was with visibility, exactly as Norman points out. The fact that the door needs to be pushed rather than pulled is obvious due to the lack of a prominent handle, yet the hinges are invisible. It is almost a better strategy to run into the door full on and see which way your weight persuades it to swing, an unprofitable strategy for one's health.
3. How did the designers of the iPod address the principles that Norman discusses here?
The iPod contains a very handy feature called a Menu, which Norman himself suggested for the intricately absurd phone at his work. The menu serves the purpose of visibility and mapping. Even though there are not many labeled buttons on the iPod, the Menu allows the consumer to see exactly what they are doing and understand the effect of their actions. It is simple (the original iPod at least), even minimalist, yet still user-friendly.
Cheers,
Megan
Sunday, September 20, 2009
"The Perfect Thing" Response
1. What elements of the design process does this article illustrate?
The article demonstrates all three elements of the design process: trials, evaluation, and selection. The elements are especially prominent in the presentation of the three potential designs of the iPod to the panel of key people including Rubinstein, Jobs and Robbin. Firstly, each of the three designs demonstrated many trials and tribulations in which the product grew as a result of mistakes. The third of the possible iPod designs was the clear choice because it improved on account of its flawed predecessors. Secondly, evaluation is the process of choosing the finalized product and testing to make sure that it is at its highest quality. “Too complicated, Jobs sniffed.” Jobs rebuffs a model that is not up to snuff. Finally, selection is the act of deciding upon a satisfactory product. “This time Jobs’ please was obvious”.
2. What factors would you use to evaluate a “perfect thing”?
Factors that I would consider to be especially important when designing and creating a “perfect thing” would be the ability to be consistently functional, efficient, durable, easily repairable (including a good service to support it), and visually attractive. Functional - it must to be reliable and work the majority of the time. Efficient - in our modern world, no one wants to wait around for things to get done. Durable – protection against the inevitably of braking. Easily repairable – in case something does go wrong. And visually attractive because no matter how functional or any of the rest of the factors the product is, the consumer will lean towards the most visually appealing product.
3. Whether you own an iPod or not, you probably have some opinions of this product. What do you feel are its strengths and weaknesses?
I personally am not particularly tech-savvy, as demonstrated by the fact that I still own one of the original iPod minis (which I inherited when my sister upgraded). With that being said, even though the battery life is about 2 ½ hours and it only holds about 1000 songs, it still is in complete working condition. That is the mark of a good product. Even after it has been surpassed by it’s high-tech sisters, it has withstood the test of time in the previously stated departments of question 2.
Cheers,
Megan
The article demonstrates all three elements of the design process: trials, evaluation, and selection. The elements are especially prominent in the presentation of the three potential designs of the iPod to the panel of key people including Rubinstein, Jobs and Robbin. Firstly, each of the three designs demonstrated many trials and tribulations in which the product grew as a result of mistakes. The third of the possible iPod designs was the clear choice because it improved on account of its flawed predecessors. Secondly, evaluation is the process of choosing the finalized product and testing to make sure that it is at its highest quality. “Too complicated, Jobs sniffed.” Jobs rebuffs a model that is not up to snuff. Finally, selection is the act of deciding upon a satisfactory product. “This time Jobs’ please was obvious”.
2. What factors would you use to evaluate a “perfect thing”?
Factors that I would consider to be especially important when designing and creating a “perfect thing” would be the ability to be consistently functional, efficient, durable, easily repairable (including a good service to support it), and visually attractive. Functional - it must to be reliable and work the majority of the time. Efficient - in our modern world, no one wants to wait around for things to get done. Durable – protection against the inevitably of braking. Easily repairable – in case something does go wrong. And visually attractive because no matter how functional or any of the rest of the factors the product is, the consumer will lean towards the most visually appealing product.
3. Whether you own an iPod or not, you probably have some opinions of this product. What do you feel are its strengths and weaknesses?
I personally am not particularly tech-savvy, as demonstrated by the fact that I still own one of the original iPod minis (which I inherited when my sister upgraded). With that being said, even though the battery life is about 2 ½ hours and it only holds about 1000 songs, it still is in complete working condition. That is the mark of a good product. Even after it has been surpassed by it’s high-tech sisters, it has withstood the test of time in the previously stated departments of question 2.
Cheers,
Megan
Friday, September 18, 2009
Blog Intro
I am looking forward to this seminar because it is unlike anything I have ever previously studied. In addition, I have the persistent tendency (as I am sure many of you do as well) to question the world around me: why it works the way it does and how we can affect it. The products people design are part of the artificial environment we have created for ourselves. And how effectively we interact with our creations defines, or at least helps structure, how successfully we relate to each other and in turn the rest of the world. Broad connections, I know. But that is also why I am excited about this seminar: the applicability of the subject matter. I hope to study material that will make me question the world immediately around me, as opposed to the abstract general realm to which we so often refer.
Cheers,
Megan
Cheers,
Megan
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