Chapter 5 - Design Thinking, Ideation, and Sketching PDF

CHAPTER 5 Design Thinking, Ideation, and Sketching LEARNING OUTCOMES 01 02 03 Understand Design Create user persona Illustrate ideation and paradigms sketching Design vs. Development Design vs. Develo...

CHAPTER 5 Design Thinking, Ideation, and Sketching LEARNING OUTCOMES 01 02 03 Understand Design Create user persona Illustrate ideation and paradigms sketching Design vs. Development Design vs. Development The entire field of system development uses the term “design” in a very broad sense, often connoting the entire lifecycle process. People refer to the “system design lifecycle” or “the interaction design process.” People say “you cannot do design without including evaluation.” Design is just one process activity and does not include the others; it specifically does not include analysis or evaluation. DESIGN PARADIGMS DESIGN PARADIGMS three major intellectual waves that have formed the field of HCI: Engineering and human factors: deconstruct work with the objective of designing the machine for optimum human performance. Cognitive science: the theory of what is happening in the human mind during and with respect to interaction by treating human minds as information processors. The phenomenological paradigm (they call it the phenomenological matrix): emphasis in interaction is about making meaning. DESIGN PARADIGMS Engineering Paradigm prescribed starting with an inventory of the functionality envisioned for a new system and proceeding to build an interaction design of the best quality possible given available resources Usability engineering emerged as a practical approach to usability with a focus on improving user performance, mainly through evaluation and iteration. The engineering approach casts design as just another lifecycle phase, a systematic approach that often works well for building systems with complex work domains DESIGN PARADIGMS Engineering Paradigm had strong roots in human factors, where work was studied, deconstructed, and modelled the goal was user productivity and eliminating user error DESIGN PARADIGMS Human Information Processing (HIP) Paradigm based on the metaphor of “mind and computer as symmetrically coupled information processors how information is sensed, accessed, and transformed in the human mind and, in turn, how those models reflect requirements for the computer side of the information processing has its roots in psychology and human factors, from which it gets an element of cognitive theory. Guidelines, such as not having more than seven plus or minus two items on transient lists on a user interface because of limits on human short-term memory DESIGN PARADIGMS Design-Thinking Paradigm vision of the desired user experience and product appeal and how the design of a product can induce that experience and appeal “Reframe usability practice” because traditional usability testing is conducted at the almost the end of the development phase which is to refine the design not at the early stage to get the design right from beginning Use participatory design techniques to experiment with and explore design through early prototypes as design sketches Not about the utilitarian aspects but more about the emotional and phenomenological ones DESIGN PARADIGMS Design-Thinking Paradigm about social and cultural aspects of interaction and the design of “embodied interaction” because it is about interaction involving our whole bodies and spirit The primary characteristic is the importance of emotional impact derived from design—the pure joy of use, fun, and aesthetics felt in the user experience DESIGN PARADIGMS Summary Example To put the paradigms in perspective, consider the concept of a new car design. In the first paradigm, the engineering view, a car is built on a frame that holds all the parts. The question of its utility is about how it all fits together and whether it makes sense as a machine for transportation. It is also about performance, horsepower, handling, and fuel mileage. The second paradigm will see the car design as an opportunity to develop ergonomic seating and maybe new steering control concepts, as well as placement of controls to react quickly to emergency driving situations. The design-thinking view of the third paradigm will also encompass many of the things necessary to produce a car that works, but will emphasize emotional impact, “coolness” of the ride, and how to optimize the design to best appeal to the joy of driving and feelings of ownership pride DESIGN PARADIGMS DESIGN THINKING AND PERSPECTIVE The design-thinking paradigm is an approach to creating an experience that includes emotional impact, aesthetics, and social- and value-oriented interaction. The design of the product concept and design for emotional impact and the user experience comes first; it is a design-driven process. Designers are called upon to create a new vision, taking customers and users to a profound and satisfying user experience. Engineers can follow up by providing the functionality and interaction design to make the vision a reality DESIGN PARADIGMS DESIGN THINKING AND PERSPECTIVE In the traditional engineering view, we use terms such as plan, analyse, build, evaluate, and optimize. In the design-thinking perspective, you are more likely to hear terms such as create, ideate, craft, envision, interpret, excite, provoke, stimulate, and empathize. DESIGN PARADIGMS DESIGN THINKING AND PERSPECTIVE Ecological Perspective The ecological design perspective is about how the system or product works within its external environment. It is about how the system or product is used in its context and how the system or product interacts or communicates with its environment in the process. Interaction Perspective how users operate the system or product. It is a task and intention view, where user and system come together. It is where users look at displays and manipulate controls, doing sensory, cognitive, and physical actions. DESIGN PARADIGMS DESIGN THINKING AND PERSPECTIVE Emotional Perspective about emotional impact and value-sensitive aspects of design. It is about social and cultural implications, as well as the aesthetics and joy of use. People use products as part of an activity, which can include many different kinds of usage of many different things. A product is not just a product; it is an experience