Design

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The Wright Stuff – Popular Science

This is an excellent interview with Will Wright, creator of SimCity, The Sims, Spore, and other games.

It touches on a lot of key ideas about game design; the nature of education, play and socializing, the richness of game design, how to engage users of different types, and so forth. I kept wanting to quote parts of it here, but then it turned into quoting half the article. So just go read it.

When I posted my missive about mashups last week, I should’ve known others were saying much of the same stuff at least a week earlier.

Adam Greenfield has a great post explaining how you have to design with the assumption that your creation will be remixed and retrofitted into a larger context:
Two things product designers and manufacturers need to know « Speedbird

You can no longer safely assume that your product will stand alone. One way or another, it will be subsumed into an ecosystem, an information ecology.

His ‘second’ thing product designers need to know is that your product has to make clear what it is and how to use it — and he delves into the subtleties of affordance vs. ‘perceived‘ affordance. And that’s a great point as well — as I said in my post, each bit you create needs to somehow bring some context and meaning along with it, and I suppose that also includes an acknowledgment that it will be used by people in ways you didn’t perhaps intend, but that perhaps you can at least forecast.

But in addition to this idea that the product needs to lend itself to the systems into which it is released, there is the idea that we should be designing ‘systems’ rather than merely products. In fact, Peter Merholz goes so far as to say “Stop designing products!

That’s a fun, provocative way to get people to come see your presentation! But the idea is actually less radical than it sounds. (Which is fine.) Basically, they’re saying that when you have the capability you should design for as much of the context as you can. His examples range from Kodak’s early approach of designing everything: the film, paper and camera, as well as the “Photo Spots” and a whole culture of consumer photography. In recent times, there’s the perpetual poster-boy, the iPod and iTunes.

Frog Design’s Adam Richardson is part of this meme as well, and writes about Why Designing Systems is Difficult. One of his best points is that systems cross over organizational boundaries, which are very hard to breach in most organizations. They have more silos than Lancaster County, PA (and if you’ve never drive on the turnpike through Lancaster, just imagine seeing more farm silos than road signs for about 50 miles straight). Organizations are congenitally adverse to having their membranes crossed; managers have their fiefdoms and have made their careers on what they’ve accomplished there, and it’s very hard to get them to share and play well with others. Much less the cultures and processes of each of those silos.

In a sense, though, I think a lot of this is ‘object-oriented‘ (OO) thinking writ large as design philosophy. Essentially, OO thinking follows the premise that designed objects (chunks of code, usually, but imagine this as ‘products’) should lend themselves to whole systems, and not be created so as to be proprietary and self-limiting. They should be pluggable and easily recontextualized. Even in software development shops, this is still a somewhat new concept; most people, organizations or departments want to put their stamp on something, and they want to make it so their product keeps the customer or user coming back for more rather than being able to take it away and plug it into something else.

I understand the idea that, if you’re a corporation with a website and services to many sets of constituents, you shouldn’t just design one widget after another, but think of your whole ‘system’ and what that means to your customers. That just seems common sense at this point: that ‘brand’ is about all the touchpoints with your customers and partners, not just your logo, and not just the latest RIA gewgaw on your homepage.

But beyond that, the tools you provide your customers need to be created with an inherent awareness of the larger world, and the ways in which people might rather use what you’ve delivered to them.

As for creating whole soup-to-nuts systems like Kodak or Apple: If you can get so far on top of something and control the market in a way that you don’t much have to worry about interoperability with other systems, then creating a whole, walled-garden system is probably fine. At least for a while, until the inexorable entropy of ‘openness’ forces you to start breaking down your walls and being a part of the rest of the world (see AOL and Internet Explorer…which is only starting to show signs of learning this lesson).

I think the opportunity to actually design a whole system is becoming more and more rare these days. The better lesson may be: stop designing products, start designing objects *for* systems, the more open, the better.

Austin Govella makes the point razor-sharp in his post on Agile Development and Design:

Agile development won’t give you better design. Design models things to be made. Development makes things you’ve modeled. Agile development methods promise better model-making, but don’t promise better models. Agile development can actually devastate design.

Thanks man. I’m going to quote you in, like, a hundred meetings in this month alone.

The folks at Panic Software have a wonderful story up that, although it’s long, is really worth the read. It brings back memories of that heady period when everything seemed like a mystery over the horizon, when we felt like we could do *anything*. It has the “startup” story, the references to stuff that Mac users from the period will certainly remember and may have already forgotten, and some great insights about design.

Panic – Extras – The True Story of Audion

Audion, for Mac users of 1999-2001 or so, the MP3 player of choice. At least, among those of us who loved beautiful things on our desktops. It was Mac-like, through and through, with lovely attention to detail.

But when iTunes hit, it changed everything. As explained here:

iTunes was, of course, and I’ll say this now, brilliant. It single-handedly taught us an entirely new philosophy on software design. Do you really need that Preference that 1% of your users will use? Can you find a better way to design that interface than having each function in a separate window? Can you clean this up, even if it means it’s a little less flexible? iTunes blazed the trail for clean, efficient software design for a broad audience, a design philosophy we practice actively today. It was a way to take a complicated digital music collection, and make it easy. Sure, it was limited, but man was it easy.

I think we’re all still trying to learn this.

I’m at work, trying to parse exactly how MS Word’s templates function. I knew this much better back in 1998, when I was a tech writer. I managed to master much of the workings of Word styles and templates, but it was all still pretty arcane even then. I remember having long debates over conference phones, like students arguing the subtleties of Talmud, with virtual-team members about the order in which to apply one or more templates to a document, and how portable the styles would then be, or exactly how to create a new style and apply to the template so that others would see it. Ad nauseum.

So I’m thrilled and gratified to see that Microsoft has finally explained all of this so clearly, especially since millions of people around the world try to collaborate on documents using their software every day. Just check out this cogent, crystal-clear explanation of the until-now mysterious “normal.dot” template, from Microsoft’s vast knowledgebase:

Working with Microsoft Word Templates-The Foundation

Normal.dot is a special global document template created and used by Word. It is a global template, but is often used as a document template. Unlike other global templates, Normal.dot must be in the User templates folder, and unlike other global templates, it should not be shared. Also unlike other global templates, it shares styles with all open documents (including other templates). When you click the New Document button or go to New option on the File menu and then click Blank Document, by default, you get a document based on the Normal.dot template.

Yeah. Now I understand completely. Thanks.

There are references everywhere — I saw it on the news while I was travelling — but here’s an article at USA Today

IPSWICH, England — Tear down the traffic lights, remove the road markings and sell off the signs: Less is definitely more when it comes to traffic management, some European engineers believe.

They say drivers tend to proceed more cautiously on roads that are stripped of all but the most essential markings — and that helps cut the number of accidents in congested areas.

“It’s counterintuitive, but it works,” said urban planner Ben Hamilton-Baillie, who heads the British arm of a four-year European project, Shared Spaces, to test the viability of what some planners call “naked roads.”

I often get confused driving around trying to parse the many signs everywhere, and wonder if they’re really helping things — and marvel at how ugly they are. It didn’t occur to me that a more ‘zen’ approach might be better, and possibly even safer. Fascinating how when you take away some of the cues, you force people to *think* as they drive. (As long as you have just enough other cues to keep them somewhat managed.)

In some ways it’s kind of a wikipediazation of public roadway signage. Rather than dictating every move, put just enough of the right cues out there to get people to structure their own behavior appropriately.

Two remarkable things get said in the recent Boing-Boing post Disney exec: Piracy is just a business model

First, Disney’s co-exec chair admits they’ve had an enlightened paradigm shift on piracy:

We understand now that piracy is a business model,” said Sweeney, twice voted Hollywood’s most powerful woman by the Hollywood Reporter. “It exists to serve a need in the market for consumers who want TV content on demand. Pirates compete the same way we do – through quality, price and availability. We we don’t like the model but we realise it’s competitive enough to make it a major competitor going forward

Pretty amazing that. The fact that they realize this isn’t so much criminal activity as it is the collective effort of its customers emerging as a competitive entity that routes around the impediments of traditional media delivery.

But evidently she also said Disney’s strategy is primarily about content because “content drives everything else.” And Cory Doctorow (who posted this at BB) makes a stellar point:

Content isn’t king. If I sent you to a desert island and gave you the choice of taking your friends or your movies, you’d choose your friends — if you chose the movies, we’d call you a sociopath. Conversation is king. Content is just something to talk about.

I love that… he nails it.

For example, American Idol’s content isn’t what makes it a sensation — it’s the fact that it inspires conversations among people. It’s set up as a participatory exercise — regular people competing, and regular people voting. The same with sports, serial drama television and even video games. Content can be engineered to be more or less conducive to conversation — and I guess in that way it ‘drives everything else’ — but that has as much to do with the nuances of delivery (the ‘architecture’ of the content, if you will) as it does with the content itself.

And in that sense, you could see piracy as not only a business model, but another form of discourse. Piracy is a sort of conversation — people share things because they’re seeking social capital, influence, validation, or even just shared communal experience.

My Architect

I just watched My Architect, courtesy of Netflix. The son of architect Louis I Kahn goes on a journey to know more about his father (whom he knew only a little at a time before Kahn’s death in 1974).

You know, I keep wanting to run down architecture that seems to be about the spectacle, the shape and light and mass, instead of the usefulness of the structure. But I think this is the first time it has really clicked for me how *useful* the spectacle can be.

When an architect from Bangladesh is brought to tears explaining what Kahn’s incredible design for the Bangladesh national assembly means to the people of that country, and when you see its image on their money and in the graffiti of their streets — somehow that makes it click.

Not that it’s always justifiable if it makes buildings unusable — thousands of poor Bangladeshis carried concrete on their heads to make that building. What if it had turned out to be hard to use for its purpose, and had gotten in the way of the people’s government instead of supporting it? Its visage wouldn’t have meant nearly as much.

I think I’d just about fly to Bangladesh to see that thing. It’s phenomenal.

We Live Here

The article I wrote for the August/September 2006 ASIS&T Bulletin is up. Thanks to Stacy Surla and the gang at the Bulletin for helping me get it into shape. I’m pleased to say it’s sharing space with a lot of really excellent writing.

It’s weird to read it now, in a way. It’s a snapshot of where my head was 2-3 months ago, and now I my thoughts about the topic have changed somewhat. Not drastically, but just natural drift (hopefully some evolution?). If I can get my wits about me I’ll write about it here.

The Science Of Desire

The beauty of ethnography, say its proponents, is that it provides a richer understanding of consumers than does traditional research. Yes, companies are still using focus groups, surveys, and demographic data to glean insights into the consumer’s mind. But closely observing people where they live and work, say executives, allows companies to zero in on their customers’ unarticulated desires. “It used be that design features were tacked on to the end of a marketing strategy,” says Timothy deWaal Malefyt, an anthropologist who runs “cultural discovery” at ad firm BBDO Worldwide. “Now what differentiates products has to be baked in from the beginning. This makes anthropology far more valuable.”

Coworker & colleague Priyanka alerted me to this conference, which is relevant to my Summit presentation: DIS2006 | workshop | Designing Interactive Systems

The game industry is often involved in game-specific game design methodologies and academics are concerned with theoretical foundations. The goal of this workshop is to start a dialogue between the two communities and generate general themes and underlying theories. These theories will serve to aid game designers in constructing games, and help tool designers build tools that allow designers to focus on critical issues.

While my presentation was about conventional software design learning from game design and how upcoming users behave in game environments, this focuses in a different direction: getting the world of game design to leverage academic research & knowhow, and to get conversations going between the two communities.

Fascinating stuff… it’s just over in Pittsburgh; it’d be fun to go.

The dedicated people who publish UXmatters have launched their April 2006 Issue, with a focus on covering the Vancouver IA Summit.

There are quite a few thorough summaries and reviews of some of the best parts of the conference. I was honored to be asked to review the Conceptual Comics workshop I attended that Friday.

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