Design never ends

Following this seminar, design will certainly play an integral role in my life; it always has even if at the subconscious level. Design is abound. It is incorporated into all things--from brooms to boxes, sidewalks to shoes, rugs to rattles. In this way, all lives are influenced by design. Now, if anything, I will look more closely at why things are designed the way they are, always critiquing, always questioning.

I would stress the importance of studying and timely completion and submission of assignments to first year students as these are the most important factors that determine success. Likewise, I would stress these same factors to students who enroll in this seminar.

Red Square: redesign, renovation

Red Square, the sole location providing for a plaza-like assembly on-campus, is dated, worn, functionally idiosyncratic, and is generally lacking the understated grandeur that so permeates much of the remainder of the campus. Collectively, these faults dissuade Red Square successfully becoming a much needed third place—that is—an area of informal social interaction separate from home and work; fortunately redesign and consequent renovation of the area would mitigate these dilemmas.


I plan to address the constraints of cost and perhaps historical preservation if applicable. Trigger points include, seating, water feature, and unattractive concrete stairs leading to the place.

The most recent readings are applicable: "Third Place," "The Experience Architect," "City," and "Principles of Marketing," perhaps with an excerpt or two from "Main Street."

The following passages from Ray Oldenberg (Third Place) are relevant:

“Most needed are those ‘third places’ which lend a public balance to the increased privatization of home life. Third places are nothing more than informal public gathering places. The phrase ‘third places’ derives from considering our homes to be the ‘first’ places in our lives, and our work places the ‘second.’” "The character of a third place is determined most of all by its regular clientele and is marked by a playful mood, which contrasts with people's more serious involvement in other spheres. Though a radically different kind of setting for a home, the third place is remarkably similar to a good home in the psychological comfort and support that it extends…They are the heart of a community's social vitality, the grassroots of democracy, but sadly, they constitute a diminishing aspect of the American social landscape."

Observing Red Square

Red square, the plaza-like location nestled between Mandelle and Dewing, was subject of observation on the afternoon of 11.13.08. With the exception of the red brick paving, which I assume the name "Red Square" was derived, the area is generally dated, worn, tired, and doesn't mesh well with its surroundings. The seating is bench-like and very much reminiscent of what one will find in some dated pavilion of some park; I observed no persons seated on them, probably for this reason. The several people I did observe quietly passed right through the square with little to no interaction; this leads one to believe the location to be mostly a kind of pass-through area, connecting central campus to the library and proximal buildings.

Red Square projects the image most analogous to that of an everyday dated park, I have observed similarly designed components in these places. I do not feel Kalamazoo College wishes to project such an image, an image so contradictory to the understated elegance that permeates much of the rest of the campus.

I found it interesting that the college chose messy crab apple trees to flank the water feature. I observed several rotten fruits from these trees in the fountain!

Marketing is paramount

Design and marketing are very much intertwined insomuch that the various qualities of a product's design produce a message, a message often found appealing by certain demographies. Marketing, in turn, further strengthens and hones this message, articulating it through branding, packaging, etc., thus locking on to these desired consumers. It seems the most important elements of marketing center on branding and packaging as these largely contribute to the consumer's most outward perceptions of a product.

There is much similarity between the ideas presented in this text, the "Principles of Marketing," and in Tom Kelly's "Design of Experiences." Marketing often plays into experience; this is evident in various phrases found on product packaging which express ideas relevant to the consumer's experience with the product.

The Kalamazoo College brand is one of exclusivity, celebrated academics, and unparalleled study abroad. These qualities are exemplified in the college's architecture, its competitive student body, and its notoriety, particularly in the realm of academia. K is successful in reinforcing this brand through cite of graduate doctoral attainment rates similar to those of many of the Ivies.

Red Square

I am considering writing about the possible renovation of red square.

Designing for the experience

Experience Architects, as they are called, design for the engagement of senses, activating the senses of sound, touch and often taste; in this way all senses are paramount in design by an architect of this type. Never should an experience be marked by the ordinary, the mundane. Whenever possible, this crafty designer actively seeks to add a touch of extraordinary to trite commodities. Even so, these improvements need not place undue financial duress on a company; often simple convenience enhancements to a product produce profound and perhaps very profitable effects. This is exemplified in what the author terms "trigger points," or primary aspects of business that would benefit from a boost in experience. Innovative experience enhancements to these fundamental business drivers can prove most profitable.

In the design of experiences, much emphasis is placed on activation of the senses, this entails discard of the ordinary and institution of the extraordinary. The design of many consumer products, while placing some emphasis on activation of the senses, seem often to be designed just for the sake of being designed--for some superficial innovation-- and as an unfortunate result, largely fail to consider the consumer's journey, their interactions--the experience.

A class visit to any place where experience is central will suffice; perhaps a visit to some trendy museum of modern sculpture or art.

Stryker

Styker Corporation as defined on Wikipedia.

Third place

Home and work can be used interchangeably with the first and the second place. Therefore, a location distinct from either of these would be logically termed "third place." This so-called third place is a gathering space of informal social interaction and is frequented by a regular group. Typical third places include pubs, coffeehouses, and libraries, among others. These spaces provide for a homey atmosphere, very much conducive to learning through informal social interaction.

Successful third places lack any sense of exclusivity; all seating is equally accessible and the location makes use of the materials that foster a sense of home.

The Arcus Atrium at Hicks can be thought to be a third place. The area provides for an informal environment wherein one can be seated in any of the various seating groupings and socialize with others, perhaps migrating to the adjacent cafe for a coffee. It also makes use of the kinds of building materials that provide warm, unpretentious flair. To better this atrium, more seating alcoves could be created.

City

The author places emphasis on the location of these urban spaces, their shape, the seating amount and type, and use of space.

Urban design and consumer product design differ greatly. The former must be designed for the masses to utilize simultaneously while the latter is often for the use of one or few people. Both are comparative in that they must allow for successful patron/consumer-to- design interaction.

The most important factors in urban space design include:

• Location
• Seating
• Space
• Shape

Kalmazoo Mall, delightful

The central business district of Kalamazoo is comprised of various notable establishments including a mid-level hotel, large banks and other firms, among others. These locations seem to serve as underpinnings for the smaller, lesser known retailers that nestle between and around these much larger structures. During business hours, I observed the area to be filled with corporate types and the common shopper who strolled the area dubbed Kalamazoo Mall, often entering one of its quirky boutiques, restaurants, or other establishments. This Kalamazoo Mall area, while fortunate in the impeccable upkeep and overall appeal of its infrastructure, is lacking a great deal in variety of retailer and storefront allure, as I call it. Many of the retailers, while quaint and somewhat charming, are boring and nondescript--they wholly lack a contemporary, cosmopolitan flair both in concept and store design. Moreover, I found the storefronts generally drab, uninviting and in desperate need of modernization. In passing various of these stores, I oftentimes couldn't tell which were vacant and which were occupied due to this drabness that melded into the scattered vacancies making the two almost indistinguishable.

In improvement of downtown, the area would benefit from:

• A greater variety of retailers that reflect a cosmopolitan image; Kalamazoo is, after all, a city of much high-tech industry.
• An overhaul of dated, unattractive storefronts
• More distinction: in view from adjacent major roads, the mall area almost feels like an alleyway, much of the rapid moving nonresident traffic flow would surely miss its entrance.

The following excerpt from Steven Lagerfeld's "What Main Street Can Learn From the Mall," is applicable to Downtown Kalamazoo, particularly the mall area:

"And the distinctive granite paving stones--'so beautiful that people will stare at them as they walk by the storefronts'..."

While the mall's pedestrian paving is not forged of granite, I found my eyes drawn down to the brick-paver sidewalk that line the area's storefronts. While they are not overly distracting, I simply found them to offer more visual appeal that many of the storefronts purposed with attraction of shoppers.

Main Street, look here

In evaluation of Main Street, Robert Gibbs observes the following criteria:

• Color and placement of trash recepticles, vending machines, benches and tables
• Overall polish and upkeep of area
• Efficient utilization of preexisting retail space
• Disuse of obstacles such as planter boxes, shade trees
• Materials used in pavement

No, the well established, distinctive retailers of Main Street should never be absorbed into a mall. There is grandeur in the stand-alone department stores and boutiques that line elegant thoroughfares; for them to be lost in structures synonymous with suburbia would be quite distasteful. In a larger sense, Main Street business centers provide their associated cities with differentiation and character that the mall (with the exception of certain architectural gems) utterly lacks. Moreover, Main Street locales often serve as tourist attractions, luring people from near and far and are economy drivers.

In my personal evaluation of main street, the following are of importance:

• Width of sidewalks
• Type of thoroughfare
• Tenant quality
• Architecture
• Materials used in retailer's facade

Z Gallerie: an analysis

Overview
Z Gallerie, a lifestyle retailer carrying an array of furnishings and accessories for the home, is subject of analysis. As a vendor of stylish middle low-to-mid priced pieces, the company's target demographic includes entry-level young urban professionals who desire relatively chic, affordable homegoods.

Façade
While most locations are stand-alone, external facilities, the particular location at Somerset Collection is internal. The storefront is structured with a black walnut coloured material inset with large glass panels behind which various furniture and accessory arrangements are displayed. Entrance doors consist of floating glass panels with a transom located just above. The company makes use of a linear, thin font in display of its name; with the exception of the "Z", which is bronzen and bold, the remainder is very thin and unpronounced almost as if they wish the "Z" to burn in the mind.

Sounds
In keeping with a decidedly cosmopolitan image, the company plays an eclectic mix of ethereal, down-tempo music. Besides music, the store is filled with the usual sounds of perusing shoppers and mechanical equipments.

Display
Large pieces are displayed to model how they'd perhaps appear in a home setting, complete with textiles, ceramics, and other miscellaneous items. Accessory items are grouped less systematically. They seem often to be arranged at random, providing a mix of colors, finishes, and textures. All items are accessible to the tactile grasp of the buyer providing for a casual atmosphere.

Floors
The location chose a light, metallic tinged, seemingly hand-hewn wood for floor surfaces. This presents a sense of rustic that juxtaposes well against the generally cleaned lined merchandise.

Signage
Signage is understated, and used only when necessary. Tags located on furniture pieces convey all relevant information.

Cashier Area
The cashier area is centrally located and consists of two parallel counters, each topped with a substantive material, likely concrete. This arrangement provides for ease of access for checkout by both shoppers approaching from the rear of the store and those approaching from the front.

Brand Perception
As a chain that caters mainly to young urban professional desiring a bit of glamor on a budget, Z Gallerie seeks to typify what is perceived by most as trendy in modern home furnishings and accessories. This is evident in its line of merchandise, often imported recreations of much pricier design, and choice of building finishes and materials always intent upon impression of an image of quality, that is, after all, lacking. The store caters to the shopper that seeks a better experience than provided at Pier One, but is just out of the range of Crate & Barrel, Restoration Hardware, and Pottery Barn, and wish to emulate the image of premier companies such as Baker and McGuire.

Customer Interaction
Customers shuffled through the store generally moving from the front to back and then about the stores edges. This is likely because large merchandise is centrally located while textiles and other miscellaneous items are peripherally placed.

I found the high concentration of merchandise interesting; this seems to be a purposeful element of design. Shoppers enter the store and are enticed by the sheer quantity of vases, ceramics, pillows, etc. all within reach.

Retail anthropology

"The Science of Shopping," authored by Michael Gladwell, discuses how, at a psychological level, people interact with retail stores. Much of the analysis of this human-store interaction is performed by Paco Underwood, a pioneer in retail anthropology. Over the years, Underwood has uncovered a repertoire of human idiosyncrasies as relevant to retail shopping. For instance, upon entering some retail location, most shoppers immediately turn right; this tendency, termed the Invariant Right, is just one retailers must compensate for in display of merchandise. Further, the contemporary American shopper is much different from those of the past; therefore, retailers must redefine retailing. Gone are the overly paternalistic relationships between clerk and consumer that existed half a century ago. Modern consumers now wish to play an active role in purchase decisions.

I am influenced by a store's design insomuch that I find it difficult to bring myself to venture into a store, in particular, a clothing store, that lacks aesthetics I find appealing. Wherever I go, I prefer being surrounded by the quality of finishes and fixtures to which I can relate.

In analysis of retail stores, the following are of importance:

• Location and organization of merchandise
• Ratio of purchasers to browsers
• Average time spent in the store and at what zone penetration
• Average number of items examined by each category of shopper
  

Iconic package

Packaging is paramount in product marketing insomuch as a consumer's first impression of a product often lies in its packaging. Thus, manufacturers must convey what they feel is most notable about a particular product on the facade of its packaging. A year ago, I was at the store with my mom as she searched for a new home phone system. Of all the dozens of phones on display, one particularly angular, high-end system by V-Tech was packaged as if it were a jewel. We picked that one.

The packaging of luxury goods are often iconic such as the eye-catching, bright yellow box of Fendi; the orange and chocolate, equestrian marked box of Hermes; or the warm bronzen box of Gucci.

Usability issues that exist for packaging center on if the packaging facilitates intended use of the product. For instance, a poor water bottle design would consist of a bottle whose orifice was some strange shape. This would not promote use of the product as a strange shape does not conform to the contours of a mouth. A good packaging design, such as that of Playstation 3, contains the device snugly, but provides for easy, uncumbersome removal and re-storage as needed. No pesky, needless, asinine compartments here!

Intelligent encyclopedia

Much of "Know it All," authored by Stacy Schiff, places emphasis on possible negative aspects of Wikipedia including inaccuracy and non-concision of data. This observation is exemplified in the following passage:

"The entries can read as though they had been written by a seventh grader: clarity and concision are lacking; the facts may be sturdy, but the connective tissue is either anemic or absent; and citation is hit or miss...The over-all effect is jittery, the textual equivalent of a film shot with a handheld camera."

Moreover, the author cleverly places snide, often pompous comments made by proponents of Encyclopedia Britannica in objection of Wikipedia, yet provides no commentary made by Wikipedia in objection of Britannica; in this way the author may be thought to be effective in superficial persuasion, if a bit deceptive.

Wikipedia and Encyclopedia Britannica differ fundamentally not only in philosophy but also in design. In examination of the obvious differences in choice of media, behavioral differences are easily discerned. Wikipedia, being a singular online encyclopedia, provides a streamlined, intuitive interface. A user simply inputs whichever data to be searched and is instantly brought to such information automatically. Britannica, however, does not allow for streamlined input, nor rapid retrieval of data. Oftentimes, a user must cumbersomely search through the volume(s) to locate desired data.

Both have purpose

Either simplicity or complexity of design, if executed properly, produce success regardless of which category of design they are integrated. Naturally, some designs of the visceral type are, by construct, simple (children's legos) while others are more complex (iPod Nano). This is not to say one design is better than the other; rather presence or absence of simplicity/complexity, among other qualities, affords differences in application and target demographic. Likewise, behavioral and reflective designs can observe either quality and be successful. The common broom, for instance, is generally categorized as a behavioral design--functionality is paramount. The broom is also simplistic. A fax machine, also a behavioral design, is complex by construct. Despite these differences both devices are designed well for their intended use regardless of simplicity or complexity.

Consumers are often wooed by added feature set. This observation is, in part, evidenced by the following:

"...There were two options, the regular TI-83 plus, and the TI-83 plus silver edition. The silver edition had more options and functions, and even though all I needed were the basic functions on the regular model, I still remember wanting the more expensive silver edition."
-Hannah

"I remember buying my phone because the features that it had looked very cool; it's feature included having two sides (One the actual the phone and the other the media part)...All the other phones seemed boring compared to the one I purchased."
-Ted

For the birds

Upon reflecting on several technological purchases made over the years, I can say without trepidation that the determining factors in many of these purchases centered on whichever device was most complex and feature-rich. This, of course, proved true in my purchase of a PDA to replace an aging one. I simply browsed Sprint's website, scrolled to the very end and narrowed my selection based on feature set alone. This left me with two possible devices: a streamlined, simply designed, yet relatively feature-rich PDA by the name of the "Touch," and a much heftier, somewhat elegantly designed, supremely feature-stuffed "Mogul." I, being the feature-snob that I am picked the Mogul because in addition to all the features of the Touch, it included WiFi capability.

Complexity is justifiable in all designs as long as functions are assigned controls to a distinct ends, and are useful to the overall design. Simplicity is of importance in the design of things for the mundane tasks of everyday living. A broom should function to sweep and nothing more; a toothbrush should only be exactly that.

"The concepts of making things visible, simple, and easily mentally mapped will all always be vital aspects to design...These are all basic principles that will always be necessary to consider when designing a product. The mind will never stop trying to mentally map a device. It will also not stop trying to assume how a product works based on the parts visible. It is a natural process that occurs in the human mind, and as long as it continues to occur, designers will need to consider it when they design their products."
-Jeff

I find this quote to speak truthfully of the mechanics of the mind and how designers must compensate for or design in accordance with these natural tendencies to produce successful, intuitive design.

Beautiful bottle

The following excerpt from Donald Norman's "Emotional Design" expresses the author's feelings of the relationship among visceral and reflective designs and certain water bottles:

And some of the bottles are, special, sensuous, and colorful. People keep the empty bottles, sometimes refilling them with tap water, which, of course, demonstrates that the entire success of the product lies in its package, not the contents. Thus like wine bottles, water bottles serve as decorative additions to rooms long after they have fulfilled their primary purpose.

Water, quite simply, is the covalent bond existing between two hydrogen and a singular oxygen. I would assume that above a certain level of purification, differences among brands is negligible. But purification level or technique is not why people often purchase a specific brand of water. Oftentimes something as trite as water is purchased based on packaging alone as certain package designs tug at our heartstrings, and those especially beautiful ones of niche market brands serve as long-lasting mementos. What emotional beings we are!

Norman's categorization of certain designs as visceral, behavioral, or reflective is quite useful. Norman clearly distinguishes among them in the text; each maintains distinct qualities that necessitate separate categorization. However, the term "reflective," used in one categorization, is a bit ambiguous. I think a better term would be "self-communicative" as designs of this type often communicate ideals of the self.

Designs for young children should incorporate the qualities of visceral design. In these developmental years, children are most engaged by colors, sounds, and shapes inherently appealing; they have yet to acquire taste for reflective design. Items for the mundane, everyday tasks should observe behavioral design--that is--function and usefulness must always come first, aesthetic later. We desire steamers and irons that function wonderfully; we don't want beautiful steamers and irons that function poorly, or worst yet don't work. In designing items for the self and the home, designers must incorporate reflective design principles as such items send messages of the self.

Emotive design

In this third chapter of "Emotional Design,"as the name suggests, Norman assesses the interplay between human emotion and design, resolving three distinct levels within this broad category: visceral, behavioral, and reflective.

Visceral
Design of the visceral type incorporates features that are appealing by intrinsic likeness. Color, smell, feel, sound, and taste form the basis for visceral design as these are attributes appealing by biological drive. Designs solely of this construct generally are not those many would consider of much sophistication as humans have evolved to enjoy design beyond the simple, visceral attraction.

Behavioral
A successful behavioral design stresses function over aesthetic; it must satisfy the need of the target audience. This is often accomplished through observation of consumer interaction with the design at the behavioral level. In design of this sort, innovation or enhancement of previous design plays an important role as by doing so, functionality is enhanced.

Reflective
Consumers are often attracted to designs that foster a sense of self-expression and send messages as to who they are. In this way they are attracted to reflective design. Prestige, rarity, and exclusivity are paramount in reflective design.

In comparison to Norman's previous work, "The Design of Everyday Things," which elaborates on commonsense qualities that should be evident in all design but are lacking in a great many, "Emotional Design," while incorporating now modernized ideals from the previous work, speaks of the previously undiscussed role of emotion in design and less about the woes of bad design.

An ideal visceral design are children's building blocks. They are generally vividly colored, and are appealing in shape and feel. An electric toothbrush succeeds as a behavioral design. Though generally aesthetically basic, they function well and meet a demonstrated need. Furniture pieces by Baker, in particular those of the Barbara Barry collection, are of reflective design. Oftentimes in purchasing such pieces, buyers wish to present an image of success, of goodliving.

Good design, bad design

The following excerpt from The Design of Everyday Things details one of the author's perceptions regarding the paradox of technology:

The paradox of technology should never be used as an excuse for poor design. It is true that as the number of options and capabilities of any device increases, so too must the number and complexity of the controls. But the principles of good design can make complexity manageable.

Despite living in a world wherein technologies are becoming increasingly complex, this does not mean that future designs must become overly so. Institution of the principles found in the text can aid in making designs, even those teeming with complex functionality, good designs. This is why Norman's book continues to experience undying appeal. Though my core shivers in saying it, there will always, most likely, be bad design. Those that are often categorized as bad, generally lack one or several of the principles elaborated in the text. Conversely in good design, in designs such as iPod, these principles are easily observed. Until such time comes that all designs may be classified as good design, this book will remain a definitive source in encouraging all designs to get there.

In evaluation of design the following are central:

• Conceptual Modeling
• Affordance
  
• Visibility
  
• Mapping/Natural Flow
• Feedback
  

Woe in everyday things

Donald Norman, author of The Design of Everyday Things, impresses upon the reader the necessity that designs be made more conducive to a streamlined, simplified end-user experience. By simplified, he does not mean that items lose function or systems complexity; rather he wishes designs be made "easy to interpret and understand"--that is--more intuitive and user-friendly. To elaborate these ideas, Norman illustrates various principles: conceptual modeling, visibility, proper mapping/natural flow, and feedback.

Conceptual Modeling
Many devices of good design have some sort of conceptual modeling. This modeling provides the user some idea as to how the device may function based on rudimentary logic.

Visibility
Functions of complex designs should not be hidden in a sea of controls controlling other functions. Functions should be assigned non-arbitrary controls to a distinct ends.

Mapping
Controls should be located on a design in such a way to promote natural flow. In good design there is no requirement to position awkwardly just to make use of functions.

Feedback
Whether it be vibration, demarcation, buzz, or light, good design provides a way to determine if functions have been executed successfully.

I've encountered various designs over the years that have been less than intuitive. The most recent of these design blunders was a certain color-laser printer with fax capability. Sending faxes was quite difficult as the machine provided no tonal or (backlit) visual feedback as to which numbers had been pressed. Worst yet, the security capability required password authentication to send, not receive faxes.

In designing iPod, Apple not only considered, but successfully instituted the aforementioned principles. Despite being a complex design, iPod manages to provide for a simple, streamlined end-user experience. On a conceptual level, users young and old alike have some idea as to how the device functions by simply referring to basic logic. Moreover, controls are clearly yet unobtrusively labeled, mapped most intuitively, and follow a natural flow as to their function. The scroll wheel, in particular, holds true to these principles. Apple took the concrete knowledge that the clock moves in a right-bound circular fashion, increasing incrementally, and applied it to the scroll wheel. One simply moves the finger over it in a clockwise fashion to incrementally increase data/volume and conversely moves the finger in a counterclockwise fashion to incrementally decrease data/volume all the while providing tonal and visual (demarcated) feedback as to these actions.

Perfection in design

"The Perfect Thing" is illustrative of various components in the design process, namely conception, evaluation, and trial.

Conception
Anthony Fadell, while working as head of Mobile Computing at Philips Electronics, conceptualized a hard-disk based device poised for the storage of music. Later, at Apple, Fadell further refined his conceptualization into a device in which aesthetic is tantamount to functionality which, in turn, is tantamount to mobility.

Evaluation
After Fadell's conceptualization was finally in tangible form, he presented it along with two others (he of course intended to be "X'ed" out) to Steve Jobs and peers. After much collaboration, finally emerged the final design, the iPod.

Trial
In iPod design, trial consisted of durability and functionality testing. Naturally, the hard-disk, being the device's most fragile constituent, was put under much scrutiny.

In evaluation of other "perfect things," components such as aesthetic, durability, functionality, intuitiveness, and usefulness are paramount. iPod, of course, successfully captured, at it's inception, and maintains these qualities.

In critique of iPod, I'd say that on the whole it is a device excellently composed. The aesthetic is revolutionary; mobility is superb; intuitivity is unmatched, and brand acceptance can't be beat. There are, however, negative points. In iPods of the past, I've noticed that the anodized aluminum coating was very susceptible to scratches and marring. On current generation devices, chrome backing is equally susceptible to unsightly abrasions. These are, nevertheless, flaws easily remedied by proper protective shells/coatings.

I guess cities need wit, too

I bet the nonexistent readers are wondering, as I too am wondering, why I choose a name as strange and seemingly illogical as "CITYwitty" for a blog whose future subject matter will place emphasis on the components and functions of design. I suppose I rationalize wit as having some part in intelligent design; a smartly designed city is indeed one of man's many marvels.

Let's hope I'm correct in my thinking...