13 Matching Annotations
  1. Last 7 days
    1. Will the user try to achieve the right effect? In other words, would the user even know that this is the goal they should have? If not, there’s a design flaw.

      I think this is actually a lot of questions that designers miss out. A lot of the times, I find myself using a device or an interface without really sharing the same "goal" with the designer. I had moments where an update of interface created a major inconvenience to me as I personally favored the previous interface better. Or, even sometimes I am not aware of all the design features and end up only utilizing 10% of of the entire program.

    1. First, you need to decide who is representative of the stakeholders you are designing for and then find several people to invite to participate. Who is representative depends entirely on whose problem you think you’re solving and partly on your ability to get access to people that have that problem.

      I totally agree on how important it is to recognize the main stakeholder and their needs/goals in their problem. However, my question is what if there is multiple? There could always be multiple representatives of stakeholder holding same importance value. Then, in that case would we consider both even though that causes higher chance of risking breakdowns and financial support?

  2. Oct 2025
    1. Designers therefore have a responsibility to think carefully about who their serving through a choice of defaults, engaging with communities to understand how they’ll be impacted.

      This is actually a very interesting quote that I somewhat knew in the back of my mind but never had someone talk about. I am really curious how designers are able to think about their choice of defaults as there would be so many. I feel like designers are facing many problems that are open to endless options of answers and no matter what they are designing that is the challenge all of designers probably face in every field.

    1. Each of these design questions demands a different prototype:

      This is something that appears a little surprising to me as this is not something I was aware of. I thought there could be same prototype that consists of multiple design questions but I guess not? But also at the same time, what if there are some prototypes that are able to answer multiple design questions? Would that be possible?

    1. Accurate random sampling will be wasted if the information gathered is built on a shaky foundation of ambiguous or biased questions.

      I totally agree with this sentence because for some surveys even as a responder, I feel like the question is somehow swaying me in a certain direction to an answer. For example, when surveys are coming from school, but are not anonymous, I feel guided to say something good or only given certain choices of answer to choose from when I have other things I wish to answer as. But overall I think the idea is that it's really important to focus on creating a place where everyone feels safe and comfortable to truly express themselves.

    1. Who is currently trying to solve this problem?How are they trying to solve the problem?What their main differentiator or unique value-add is for their business and productsDid anyone try to solve it in the past and fail?Why did they fail?

      I think these questions that are listed are all highly valuable questions. The reason why I think that is because I had been put in a lot of situations where I had to solve a problem in some kind of a way and many times I look over these factors. These are the most critical base of the solution process but I think are also very easy to miss and overlook them. Especially for "did anyone try to solve it in the past and fail?", I think this is really a strong question that needs to be pondered on and requires a lot of thinking/research based off other questions like "am I copying other person's solution/method?" "Can I learn out of their failures? Can I try it on my own?" and so on.

    1. Critiques are two-way. It is not just one person providing critical feedback, but rather the designer articulating the rationale for their decisions (why they made the choices that they did) and the critic responding to those judgements. The critic might also provide their own counter-judgements to understand the designer’s rationale further.

      I found this statement to be interesting as this is not something I thought of. I always took critiques more as an one way definition so this is a new insight of perspective I am gaining from this reading. However, this got me questioning: If a certain design gets out to the world and gets criticized, would designer always be able to articulate the rationale? If not, is it not consdiered as a feedback coming from a user?

    1. Another way to generate creative ideas is to steal them from other contexts. Why would you spend a bunch of time generating good ideas when there are so many good ideas already out there? Find those good ideas, combine them into something new, and you’ll have something even better. These good ideas can come from anywhere: look to products on the market, products that are no longer on the market, the solutions that people are already using to solve a problem. One of the least studied repositories of great ideas is in libraries, which store descriptions of nearly everything ever invented.

      Just my opinion that I want to add on this is a lot of times people do also "steal" by accident. Human brain, we see things in life and some of those things are put in the back of our minds without ourselves even knowing. Then, when put in a situation where I am asked to generate something of similar, those things might come into your mind whether you know it or not.

    2. I believe creative thinking is an inherently divergent, generative activity that all people can do. However, most societies do not value creative thinking and so our skills in generating ideas rapidly atrophies, as we do not practice it, and instead actively learn to suppress it11 Csikszentmihalyi, M. (2014). Society, culture, and person: A systems view of creativity. Springer Netherlands. . That time you said something creative and your mother called you weird? You learned to stop being creative. That time you painted something in elementary school and your classmate called it ugly? You learned to stop taking creative risks. That time you offered an idea in a class project and everyone ignored it? You must not be creative. Add up all of these little moments and where most people end up in life is possessing a strong disbelief in their ability to generate ideas. Some of my students have also argued that pressure to pursue more “logical” careers rather than creative ones disincentivizes youth to pursue (and therefore practice) creative endeavors.

      I totally agree with this stake that the author put out in this paragraph. I think everyone has a chance to be creative but a lot of the times they are suppressed. We as humans set a strong idea of what is "right" and what is "normal" and tends to be anxious, worry, or discipline if it something goes apart from that definition we created in our minds. That applies to kids too. I noticed that some parents are overly worried about their kids' creativity because they only find it weird, which leads to their own connection to possible ADHD, autism, or just any other mental/behavior issues. Then, they try to say "no" to the idea, kids learn that, doesn't learn how to imagine or generate ideas, and parents are disappointed that their kids are not creative as others.

  3. Sep 2025
    1. Another form of knowledge to distill is who you’re designing for. Many designers will capture this in the form of personas1,51 Adlin, T., Pruitt, J., Goodwin, K., Hynes, C., McGrane, K., Rosenstein, A., and Muller, M. J. (2006). Putting personas to work. ACM SIGCHI Conference on Human Factors in Computing (CHI). 5 Peterson, M. (2016). The Problem with Personas. Prototypr. , which are fictional people that you’ve described that attempt to capture the different types of people you might design for.

      My thoughts behind this part of the reading is powerful. I think this is the center of everything. Even the goals and values, scenarios or whether if it's valid or not doesn't matter if you don't know who you are designing for. Customers/people have different goals, values and scenarios that are valid or not. To find a common ground amongst all the differences and helping to improve on the problem that people agree on is the essential basis of designing.

    1. Therefore, problems are really just situations that people don’t want.Now, that doesn’t mean that a situation is undesirable to everyone.

      I think this sentence is very true. As much as there will always be someone that doesn't like an option A, there will always be someone who will love option A. Problems exists because someone doesn't like them and think of it as an obstacle. Just looking at my own life, even if I think of something like needing to go buy groceries during my busy schedule is a problem and stressful to me, stopping by a market on the way home is not a problem at all to my mom. So regarding this logic, I agree with the author when they mentioned how new designs will only improve something but never be able to solve the problem.

    1. Some design scholars have questioned whether focusing on people and activities is enough to account for what really matters, encouraging designers to consider human values

      This sentence got me instantly thinking how design has so much to do with not only designing and problem solving itself, but the nature of life, morality and philosophy. I think this is really between a lot of art related things. Even in traditional art, I think most art projects are created out of a deep feeling that is intrigued within the artist (this could be a family drama, personal struggles, racism, sexism, anything really they went through). In my opinion, now that design is linking the these deep feelings that are caused in the humans with problem solving, we need to not only consider but really take in morality, nature of life and perspectives into the work.

    1. Design was where ideas came from. Design was methods for generating ideas. It was methods for evaluating ideas. It was ways of communicating ideas. I learned that design was problem solving

      I agree with some parts regarding this sentence. I totally agree with the part where it indicates how design is problem solving and a way of communicating ideas but, in my opinion the way the author described partially as method of generating ideas and evaluating ideas didn't really make sense to me. I think design = ideas. I think that something branches out of an idea and making to real and accessible is the designing part. Design can easily communicate an idea and deliver more easily accessibility to users for everyone's convenience and problem solving, but I can't really think of a way how design would evaluate ideas. I think we can evaluate a "design" but design itself can't be evaluating an idea.