Google Cards: UX Design or Information Design?

It’s been a half year since Google released Material Design. I still see it as a great strategy to bring a vocabulary to designers and users for understanding how UIs work. From that design framework, cards have caught my attention from the first time. I always wonder, are cards about UX or are they really about information design?

Google Now
Google Now’s available cards

Probably, the first card I saw corresponds to the weather card in a web browser, the one that appears when you google about the weather. However, the first time I paid attention to a card was in a plane. I remember seeing a clean and well organized information about my flight in a little box in my phone. Google knew about my flight and it delivered enough information for me to be aware about my flight status. I got very excited, honestly. The first thing that came to my mind was: this is information design!

If we think of physical cards, Google’s cards seem to be limited in terms of interaction. In many Google interfaces, cards don’t flip or move. Static information is mostly presented on one face of the card. However, no fancy interactions are necessary to make a card effective. The effectiveness of card relies on the quality of the information that it presents. In that regard, knowing how to design the content, the information becomes important. Visual design principles like hierarchy, contrast and rhythm are necessary for the synthesis of information. Therefore, theUX becomes into a matter of information design. We designers need to remember that the how and why of composition expressed through several skills and theories related to design—including rhetoric—matter for the design of technology. 

Cheers!

Postcolonial design and Mexican culture

I don’t know why I hadn’t paid attention to it before. Maybe it’s consequence of being surrounded by design philosophers, feminists, and rhetoricians as part of my PhD education. I’m talking about the postcolonial role of design in the development of the Mexican culture. I don’t have a concrete argument here, but sparse thoughts and questions. All of them are consequence, in turn, of being exposed to the architecture of some european cities I’ve had the opportunity to visit. By observing and reflecting about the architecture of Europe and Mexico, I couldn’t avoid thinking about how the hegemonic vision is imposed through design.

Puebla City Hall
Puebla City Hall. Picture taken from http://goo.gl/a1Wzdg

The (Mexican) architecture, as I imagine that it occurs all over Latin America and other colonized countries, shows such hegemonic vision. It seems that design, before and nowadays, either we talk about architecture or object design, is clearly the materialization of the hegemony. Design works as a cultural wax stamp. 

Juarez Theatre in Guanajuato
Juarez Theatre in Guanajuato. Picture taken from http://goo.gl/a1Wzdg

I just heard in the DRS 2014 Conference that, as designers, we should pay attention to the design needs of Africa and Asia due to their coming population growth, including its economic impact. Who should be in charge of these design situations? To what extent design should avoid fostering a neocolonialist vision? Is there a design vision and education emerging from not-western countries that should be taken into account? In other words, do we need to use that cultural wax stamp as safe action? How much?

Fine Arts Palace
Fine Arts Palace. Picture taken from http://goo.gl/AUGQIG

The old zones of Mexican cities show the European heritage in terms of functionality and aesthetics. Furthermore, current developments also follow modern architectural approaches influenced by developed countries. Nevertheless, Mexican cities don’t identify themselves as European cities. The Mexican flavor has developed on its own. So, why do Mexicans need to care about how the european vision has affected what they call culture? Will it make any change? Is it anyhow relevant to make a comparison with the inherited wester design and the design that mexicans are allowing to conquer them nowadays?

Morelia downtown
Morelia downtown. Picture taken from http://goo.gl/n7jrZy

I know that it might sound as an exaggeration. Too much buzz around the idea of architecture, and hence of design. Nevertheless, just by observing, reflecting, and understanding architecture as an evidence of a repeating history, it comes to my mind more doubts about the failure of design. It comes to my mind images of clumsy Mexican cities where the marginalized zones are not considered as design projects; software that is not inclusive for the heterogenous societies within the Mexican Republic; or even an image of how certain products and services might be unaccessible for people whose user or consumer profile parallels to that of people in USA or Europe.

Mansion in Merida, Yucatan
Mansion in Merida, Yucatan. Picture taken from http://goo.gl/oeWDZn

I think that Design perceived as a transformative action deserves a couple of thoughts. It changes reality, and hence, it changes us. Therefore, shouldn’t we be more critical about how other forces affect our agency?  Regardless, I’d bet that any thought about Design and its implications is just as mess; as anything that plays part of transforming the world.

Cheers!

 

Design, Science, Art and Craft: among facts and abstractions.

What’s the difference between Science and Design? What about Art and Craft? Is design about something concrete (an object), a process, an line of thought? Further, by taking User Experience (UX) and Human-Computer Interaction (HCI) as knowledge disciplines, what’s the relation of UX with Science? Does UX belong to Craft or Art? What can we tell about HCI? These are very difficult questions to answer, and they require to take a philosophical stance—at least, I assume—in order to create arguments and hence generate discussion. So, what’s the point of this post any way? Although I think I don’t have the answers to all these questions whatsoever, I would like to share my perspective on how these big words relate each other by means of the following schema.

Relational space between Science, Design, Craft, Art, Actuality and Abstract.
Relational space between Science, Design, Craft, Art, Actuality and Abstraction.

In regard to the description of this relational schema, I would like to start commenting why I took the continuum Art/Craft. In 2008, I wrote this idea in Spanish

El diseño implica arte pero el arte no implica necesariamente diseño.
La ciencia implica diseño pero diseñar no implica necesariamente hacer ciencia.
Aun así, la ciencia implica hacer arte.

The literal translation is as follows,

Design implies Art, but Art not necessarily implies Design.
Science implies Design, but to design not necessarily implies doing Science.
Yet Science implies doing Art.

The last part, “Yet, Science implies doing Art”, seems to make no sense in English. The adequate translation could be,

Yet Science entails Craft.

My point here is that “doing Science” in real life is not that rigid as it looks in paper. To me, it involves both aspects of Craft and Design. Further, this phrase indicates the underlying implications of using a particular language at the moment of reflecting and philosophizing. Regardless, the selection of this continuum is somehow influenced by the perspective of Howard Risatti when comparing Art and Craft—although I don’t share his vision regarding Craft and Design in this “Theory of Craft”.

For the case of Science and Design, I consider the relation between these two as discussed by Nigel Cross and Harold Nelson & Erik Stolterman. As I tried to embed it in my phrase above, I state that it turns out difficult to outline strict boundaries in the relation of Science and Design. All depends on what type of definition, questions, and the place where those questions are made.

The third continuum entails the consequences of Art/Craft and Science/Design in relation to the real world. Thus, I consider—at least—the range that goes from abstraction to actuality. That is, from ideas to things that people can interact with. This continuum is theoretically related with ideas such as the “ultimate particular” and “design inquiry“—as a compound of the inquiries into the real, ideal, and true respectively—by Nelson & Stolterman.

The relational schema presented above doesn’t have the intention of being prescriptive. It corresponds to my personal viewpoint and a attempt to formulate my position as HCI/UX researcher regarding the type of research/discourse generated in my near context. That is, among the faculty and colleagues at Indiana University Bloomington. Further, since I have interest in schemas/diagrams/sketches, I generated it as an example of how schemas may function as a means for argumentation.

My purpose here is for you to take this schema and tear it up. Make it your own.

However, before you go and destroy this relational schema, let me show how it helped me to sketch the answer to the aforementioned issues.

UX and HCI in the relational space

As we observe from the schema above, the relational space is conformed by three axis, each of them representing one of the continuums describe above. Then, I perceive User Experience (UX) as a discipline highly design-oriented, focused on concrete outcomes, and with a high flavor of craft in its practice. I think these qualities make it different from other approaches regarding interactive artifacts-systems such as Software Engineering, ICT, or Computer Science.

UX in relation to Art, Craft, Science, Design, the abstract and the concrete.
UX in relation to Art, Craft, Science, Design, the abstract and the concrete.

On the other hand, I locate Human-Computer Interaction (HCI) in a different place within the relational space. I perceive HCI as more scientific discipline focused on concrete outcomes, yet with certain nuances of craft in its practice. I remark that I’m talking about a general or traditional perspective of HCI. In other words, a practice—and also its research—more emphasized on the first and second waves of HCI.

HCI in relations to Art, Craft, Science, Design, the abstract and the concrete.
HCI in relations to Art, Craft, Science, Design, the abstract and the concrete.

I consider that HCI influences UX, more than the other way around. Although HCI provides foundations and methods to UX, the latter seems to lack of impact regarding HCI in this fashion. Of course, this discussion could be very extensive and profound. So far, I remark this influence with an arrow, just to indicate that HCI may entail a more traditional approach whereas UX corresponds to the designerly approach.

Designerly and non-designerly approach to HCI/UX.
Designerly and non-designerly approach to HCI/UX.

In the attempt of describing the relation of HCI and UX and the implications that each has on the other, I’ve observed that within the HCI track—in the School of Informatics and Computing at Indiana University Bloomington—theory plays a critical role. It provides the discursive components to understand the aforementioned relation. Thus, in this milieu I’ve heard of design theoretical topics such as Slow Change Interaction Design, Sustainable Interaction Design, Feminist HCI, HCI Criticism, Participatory Design, Critical HCI, Design Theory, and Design Pedagogy, Practice and Methods. All of them gathered under the big umbrella of Design Theory (DT).

Design Theory in relation to Art, Craft, Science, Design, the abstract and the concrete.
Design Theory in relation to Art, Craft, Science, Design, the abstract and the concrete.

From my current perspective, UX influences DT since it provides the input to start theorizing about design. The consequences of UX are actual design cases. At the moment (design) researchers start analyzing those cases, a universe of study is created. By picking one planet, system, or galaxy of such universe, the (design) researchers cannot avoid to meet a philosophical situation since there’s an intrinsic relation between the researcher and the piece selected to study. And just as we may observe from the last sentences, the attempt to understand becomes a matter of (design) philosophy.

The relation between UX and Design Theory.
The relation between UX and Design Theory.

So far, we’ve observed from above the relations of HCI→UX and UX→DT. The question is now, in terms of DT and HCI, what is the discipline more prominent to influence or affect the other? I want to remark that it’s not my intention to be prescriptive. Based on my experience, I think that DT→HCI marks the relation within the type of research I’m currently involved. That is, DT provides HCI with theoretical foundations, which are in turn employed to generate frameworks.

Not necessarily connected with the latter, (design) methods are located very close to HCI in the path of this connection. Nowadays, more that thinking about their degree of applicability, I think that the so-called design methods could work without a deep—and hence philosophical—understanding of DT. I conjectured the latter based on my early experience with HCI, particularly as an undergraduate and latter getting involved with HCI researchers.

The relation between HCI and Design Theory/Theories.
The relation between HCI and Design Theory/Theories.

Research as an act of reconciliation

As I mentioned above the relational schema has the purpose of helping myself what’s my position as HCI/UX researcher. The relational schema is limited in order to respond to such statement. However, it provides a means to make an approximation for such goal.

I notice that more than talking about a precise position as (a possible future) researcher within the relational space, I can better reflect on the interrelation of UX-HCI-DT to understand on what research field I can work at. For instance, in the schema below, I picture a research field with big emphasis on the actuality and Art dimensions—although the connection with DT will always be there. Any change on this membrane represents a different framing on what to pay attention as HCI/UX researcher.

Research on design as reconciliation of HCI, UX, and Design Theory.
Research on design as reconciliation of HCI, UX, and Design Theory.

There are as many membrane variations as HCI/UX researchers. In my case, I know that my academic/professional past as designer and my current formation as scholar influence on how I frame the research field I’d like to work when I reach the dissertation stage. In this sense, I remark that relevance of the context. My advisor Marty Siegel, my mentor Erik Stolterman, the faculty, my colleagues PhD students from all the tracks, and the master’s students from the HCI/d program have a huge impact on shaping my particular membrane.

Questions come along more often than answers. I guess it’s a natural consequence regarding the formation as scholar. Yet I look forward to create many schemas that help me to understand this journey better. 🙂