One of the key challenges of being involved in a humanities & design-oriented perspective of Human-Computer Interaction is defining what design (or Design) is. I think that having an operational definition for Design is healthy. It is not only about divagating, philosophizing, or making the word Design to look more scientific—this is, to convert it into something observable and measurable within a certain space, which has its own axioms and laws. It’s also about understanding what being a designer—in a professional sense—means. What’s an Experience Designer? An Interaction Designer? Is it different from an Information Architect? Isn’t a UI Designer an Experience Designer? Coming up with a single answer it’s not an easy task nonetheless. However, thoughts and words are there to shape and play with reality, and hence to understand our human constructions better. So, below I present a quick definition of what design is.
Design is the conjunction of problem framing, externalization and materialization, and communication.
These are my simple approaches to each of these dimensions:
The designer should decompose the design situation (i.e., analysis) in order to understand it, and make a connection about how the current context, current needs, and current users are related to her past projects and personal experiences (i.e., abduction). Nevertheless, I think that separating problem framing from the other two dimensions during a design process is impossible. If so, we’re not talking about Design. We might be talking about problem solving only.
Externalization and Materialization
A design process cannot escape from representation. The rationale behind the problem framing, and hence the design solution must be externalized, communicated, instantiated. In this regard, the designer should find the means to support her argument. Her understanding of how to synthesize information or how to play with the materials is relevant to make a connection with the client, users, stakeholders, and also with herself.
The designer creates communication pieces, messages. This is evident in terms of the design outcome and the deliverables by which a designer supports her arguments. These are closely related to the dimension of externalization and materialization. Moreover, every design project entails people interacting. Design projects of any size will imply, at least, a relation between a designer, a client, and user. Part of the design process is to balance this relation. Perspectives, values, interests, and even whims take part in design processes. Therefore, the designer should employ communication skills to play the role of mediator, and understand how she, as a person, in combination with the messages she creates, will achieve that balance.
So far, this operational definition helps me to understand design in a simple way. Furthermore, it also helps me to understand the role of experience designers as rhetoricians; and idea I’m still developing as part of HCI research agenda.
Note: Thanks to Jordan and Marty for the conversations about [design/Design/designing]. I would bet this definition will evolve.
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 perspectiveon how these big words relate each other by means of the following schema.
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.
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.
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.
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.
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.
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.
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. 🙂