Jonas L öwgren & Erik Stolterman : The designer ( kap . 3)

1. Jonas Löwgren & Erik Stolterman:The designer (kap. 3) Designteori 8.2 Design: teori, metode & praksis, ITDD F2013

2. Becoming a designer It is ultimately a question of designing oneself as a designer. (Löwgren & Stolterman, s. 45) This means that to act as a designer, you have to be able to think about yourself as a designer. (Löwgren & Stolterman, s. 49) One of the first things that happens is that the designer creates a frame. The frame is the result of a judgment that sets the provisional limit for the design and determines what should be considered to be inside and outside the scope of the design. […] The framing judgment creates the foundation for the design work that follows. It is one of the most important judgments in a design process. (Löwgren & Stolterman, s. 56)

3. Becoming a designer Hvordanudgørjeres design en rammepåNaturhistorisk Museum (NHM)? Hvaderinkluderetirammenoghvaderekskluderetfrarammen? (hvordanser I brugerne, brugenogkonteksten) Hvadgørjeresindramning (design) jeri stand til at se? hvadkan I ikke se? Hvordan/hvorforerjeresindramningblevetsom den er? Hvilkedesigneregørdetjertil?

4. Becoming an able designer A set of concepts that can be used to frame the abilities needed for interaction design as follows: • Creating and shaping demands creative and analytical ability. • Deciding demands critical judgment • Working with a client demands rationality and ability to communicate • Design of structural qualities demands knowledge of technology and material • Design of functional qualities demands knowledge of technology use. • Design of ethical qualities demands knowledge of relevant values and ideals • Design of aesthetic qualities demands an ability to appreciate and compose (Löwgren & Stolterman, s. 44-45)

5. Becoming an able designer Hvordanudtrykkerjeres design hvad I harlærtsomdesignere? • Hvadhar I analyseretjerfremtilI designsituationen? Hvordanerdetkommettiludtrykijeres design? • Hvordanhar I valgt at formgiveogkomponerejeres design? HvadharI set idesignsituationenoglitteraturen der haraffødtdissevalg? • Hvilkestrukturellekvaliteterharjeres design? Hvorfor? Hvordankommer de tiludtrykidesignet? • Hvilkefunktionellekvaliteterharjeres design? Hvorfor? Hvordankommer de tiludtrykidesignet? • Hvilkeetiskekavliteterharjeres design? Hvorfor? Hvordankommer de tiludtrykidesignet? • Hvilkeæstetiskekvaliteterharjeres design? Hvorfor? Hvordankommer de tiludtrykidesignet? • Hvilkedidaktiskekvaliteterharjeres design? Hvorfor? Hvordankommer de tiludtrykidesignet? Detteer alt sammenspørgsmålI somdesignereskalværei stand til at svarepå (påpræsentationsdagenogijereseksamensopgave) hvis I skalkvalificeresom ‘able designers’

6. Becoming a contextual designer Every design situation is unique and demands unique solutions (Löwgren & Stolterman, s. 44) We will argue that developing design ability is about preparing for action. Design ability is not about finding the correct ways of doing things, the definitive method, or the perfect tools. Since design is always about acting in unique situations, it is impossible to formulate generally applicable rules or methods that will always work. The designer has to be able to apply general knowledge in a specific situation. (Löwgren & Stolterman, s. 57) We can never expect a design process to lead to the optimal or correct design. Design can only lead to a sufficient or adequate design. Adequate does not mean that the design could really have been better; it means that designers have to accept that any design is affected by the situation at hand. To be able to recognize an adequate design is the core of what design is all about. (Löwgren & Stolterman, s. 55)

7. Becoming a contextual designer Hvishverdesignsituationerunikoghverdesignindramningidesignsituationenerunik, hvilkeunikkedesignindsigterhar I såanalyseretjerfremtilidesignsituationensom I dernæstharbyggetjeresunikkedesignindramningpåbaggrundaf? Oghvordanskaberdenneunikkedesignindramning en nyunikdesignsituation? Oghvordankandennenyeunikkedesignindramningogdesignsituationdernæstbegribesogbeskrivesteoretisk-analytiskgennem den oparbejdedeteoretiskedesignforståelse? Hvordanudtrykkerjeres design at I harforstået at handle didaktiski den unikkedesignsituationsom NHM udgør? Oghvordankandesignsituationen, jeresagereni den ogjeresdesignvalgbegribesdidaktisk, refleksivtogteoretisk? Hvordankanjeres design beskrives, fortolkesogevalueressomværende et ‘tilstrækkeligt’ design? Hvordankandetsespådesignet at deterblevetpåvirketafdesignsituationen?

8. Becoming a knowledgeable designer Having knowledge means understanding the vast amount of specific information and techniques existing within any design field (Löwgren & Stolterman, s. 44) Design intelligence is the ability to work with the material, with the sketch or model, to reach a final design. (Löwgren & Stolterman, s. 48) To develop a sense of quality more or less requires the development of a language. A designer needs a well-developed language in order to be able to express design ideas and design qualities […] a language is necessary in making ideas and thoughts more precise and well-crafted. (Löwgren & Stolterman, s. 59)

9. Becoming a knowledgeable designer Hvordankandesignpraksisogdesignteoribringesispil med hinandenpå en frugtbarmåde? Hvilkedesignteknikker, metoderogperspektiverhar I valgt? Hvorfor? Hvordanhardesignetudviklet sig efterhåndensomjeresdesignpraksisogdesignvidenharudviklet sig? Hvordankommerdettiludtrykidesignet? Har I fåetoparbejdet et analytisk-teoretisk sprog der gørjeri stand til at tale omdissedesignprocesserogjeresdesignprodukt? Hvilketeorier, perspektiverogbegreberersærligtcentraleiforholdtiljeres design?

10. Becoming an aesthetic designer Functionality and efficiency are prioritized over aesthetics. It is common to assume that aesthetic aspects are rather superficial – related solely to shape, form, and color. However, the aesthetic qualities of digital artifacts go far beyond the surface. One of the most fascinating aspects of a digital artifact is that it must be understood aesthetically as an experience over time. When you use a digital artifact, you do things, the artifact responds, you act back, and so on. It is an unfolding story. […] The artifact has to be composed. It is in a composition that ideas are given form and brought together with what already exists. Composition is about ‘putting things together’ in a way that makes sense and creates a whole […] Function, structure, and form has to be juggled in an interlocking balance […] It is by composition and in the creation of the gestalt that the designer shapes the overall aesthetic experience that follows with the use of an artifact. (Löwgren & Stolterman, s. 53-54)

11. Becoming an aesthetic designer Hvordan spiller funktionalitet, æstetikogdidaktiksammen I jeres design? Hvilkevalghar I truffetangåendedissedimensioner? Med hvilkebegundelser? Hvordankanjeres design forståsæstetisk? Hvilkenæstetikudtrykkerdet? Hvilkeoplevelserinvitererdettil? Hvorfor? Hvilkenhistoriefortællerjeres design? Hvorforfortællerdesignetdennehistorie? Kunnejeres design have fortalt en andenhistorie? Hvadvilledet have betydet? Hvilkenkompositionudgørjeres design? Hvorforerkompositionenblevetsådan? Hvordan spiller funktion, strukturog form sammen? Hvadsigerdesignetsomhelhed? Om designsituationen? Om jersomdesignere? Om jeressynpå design? Om jeressynpåbrugerne? Om jeressynpå NHM? Om jeressynpåbrugen? Hvilkenæstetiskoplevelsefølger med brugenafjeres design? Hvorfor?

12. Becoming a thoughtful designer The possibility of a designer succeeding in a specific situation is determined by the extent to which she is prepared (Löwgren & Stolterman, s. 43) Externalizing an idea, making it ‘visible,’ also makes it accessible for criticism, development, expansion, revision and possible discard. (Löwgren & Stolterman, s. 51) We believe that a thoughtful designer has to be reflective and critical of her own skills. (Löwgren & Stolterman, s. 57) The quality of practice needs to be challenged through continuous reflective thinking. Schön’s concepts of reflection-in-action and reflection-on-action summarize the basic idea of continuous reflective thinking […] We have to remember that design ability is first and foremost the ability to be a thoughtful designer. (Löwgren & Stolterman, s. 60)

13. Becoming a thoughtful designer Hvordanafspejlerjeres design jersomrefleksiveogeftertænksommedesignere? Hvordanerjeres design en manifestation afjeresdidaktiske vision? Hvordaner den oprindelige vision blevetkritiseret, udviklet, udvidet, revideretellerforkasteteftehåndensom I hararbejdetjerfrem mod denne manifestation ogoparbejdetdesignvidengennemdesignpraksisogdesignteori? Hvordankan I udtrykkejeresogdesignetsprocessom en ‘reflection-in-action’ oghvordankan I nu efterfølgendebegribejeresdesignproduktkritiskogrefleksivtgennem en ‘reflection-on-action’? Med andreordhvordankan I manifesterejerselvsom ‘eftertænksomme’ og ‘hensynsfulde’ designereogjeres design som et ‘eftertænksomt’ og ‘hensynsfuldt’ design?

14. The design-analysis cycle Being analytical – that is, having the skill to divide things in smaller parts in a logical way with the purpose of understanding their inner workings – is an ability so universal it is probably needed in any human endeavor. This is certainly true for design. In addition to having analytical skills, however, a designer must also be able to create synthesis. Design is about creating more complex things from less complex ones. It is about building larger compositions based on knowledge and information smaller parts. (Löwgren & Stolterman, s. 46) Another aspect of design intelligence is the ability to recognize and judge the quality of design. (Löwgren & Stolterman, s. 47)

15. The design-analysis cycle At bevæge sig fra en analyseafdesignsituationensenkeltdele (kontekst, brugere, brug) ogoparbejde en forståelseafsamspilletmellemdisse (designmetodeogdesignteori) Til at konstruere en helhed (design) somsvarpådenneforståelse (designpraksis) Til at analysereogreflekterekritiskogteoretisk over den store helhed (design+kontekst+bruger+brug) gennem at analysere, evaluereogredegørerefleksivt for den store helhedsenkeltdele (eksamensopgave) Tilderigennem at kunnebegribeogbedømmedesignetskvalitet (eksamensopgave)