VIP Vision in Design de Paul Hekkert

VIP Vision in Design

Paul Hekkert

Matthijs van Dijk

The authors, design practitioners and educators, bringing together in this book 15 years of knowledge, practice and research, have produced the first book about how, as a designer, to formulate a vision for new and appropriate products. They call this new approach Vision in Product Design (ViP). It strikes a good balance between structuring the process of design while allowing the designers to take a personal position and fully express themselves in producing a product. ViP is both a method and a design philosophy. Besides explaining what ViP is all about, the book offers a rich array of narratives like conversations, cases, literature and creative materials (both academic and popular) and illustrations like models and pictures. Through these different pathways the reader will better understand ViP and will be able to interact with the book, both in practice as in educational context in more various ways. The book targets primary at students in design education, both in product design, as in interactive and strategic design. But also design practitioners the book is a perfect reference manual, to structure design activities, provide concepts for discussion and help in avoiding design mistakes. Paul Hekkert is Professor of Form Theory at the faculty of Industrial Design Engineering at TU Delft University in Holland. Matthijs van Dijk is CEO of KVD design consultancy and Professor of Applied Design at TU Delft, Peter Lloyd is head of the Department of Design and Innovation at the Open University in the UK.

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Cuprins

PART 1 Why use ViP?

Example student concepts 26
1 Mobile Communication 26
2 Mobility 27
3 Gaming 28
4 Office Technology 29
5 Medical Supply 30
6 Baby Care 31
7 Domestic Appliance 32
8 Public Transport 33
9 Health Care 34
10 Education 35

Professional cases 36
1 Retail for Dutch railways 38
2 Pininfarina Nido, a city car concept 46
3 Dutch Ministry of the Interior and Kingdom Relations 60

Interview
Thinking and feeling 77

PART 2 How to apply ViP?
A ViP Process in 11 sessions 84

An invitation to ViP A model, and some playful practice 118

The ViP Process A how to 131
Preparation: ‘destructuring’ 134
Step 1 Establishing the
domain 137
Step 2 Generation of context factors 141
Step 3 Structuring
the context 148
Step 4 Statement definition 154
Step 5 Establishing a relationship: designing human-product interaction 158
Step 6 Defining product qualities 163
Step 7 Concept design,
or ‘concepting’ 166
Step 8 Design and detailing 177
Final words on the process:
on user involvement 183

Discussion of
interaction images 190

Interviews 202
Dealing with values
in the context 204
What do we mean
by ‘principles’? 208
‘Interaction’ in
the context of ViP 214
Dealing with the client 222

Essays
On designing a context 230
On understanding interaction 240
On product meaning 248

The ViP Process in Practice
10 (abriged) Student Cases 254

1 • 2 Street Furniture 256
3 • 4 Laundry Process 258
5 • 6 Male Emancipation 260
7 • 8 In-flight Experience 262
9 • 10 Train Journey Time 264

PART 3
What inspired ViP?

Essays
On adaptation and fitness 278
On creativity 284
On innovation and novelty 284
On feeling and thinking 296
On the primacy of universal human principles 300

Discussion
Talking design methodology 310
Epilogue 322
References 326
Glossary 330
Acknowledgements 334

Notă biografică

Paul Hekkert (Author)
Paul Hekkert is Professor of Form Theory at the faculty of Industrial Design Engineering at TU Delft University in Holland.

Matthijs van Dijk is CEO of KVD design consultancy and Professor of Applied Design at TU Delft, Peter Lloyd is head of the Department of Design and Innovation at the Open University in the UK.

Matthijs van Dijk (Author)
Matthijs van Dijk is CEO of KVD design consultancy and Professor of Applied Design at TU Delft, Peter Lloyd is head of the Department of Design and Innovation at the Open University in the UK.

Extras

Foreword
By Peter Lloyd

The first edition of Design Methods: Seeds of Human Futures was written in 1970. It’s author, John Chris Jones, sensing a growing complexity in technology, and concerned that designers should make their decisions demonstrable, looked at how to formalise the process of design. No longer should design be a craft process, a slow intuitive shaping of form and function, but a structured, controlled process. “We should really know what we are doing when we design,” thought Jones. In the America of the 1960s, designers like Henry Dreyfus had already begun to integrate ergonomic studies into the process of design; Jones just took the idea a bit further. Design Methods introduced systematic ways of analysing a wide range of what might be termed ‘situations’. The methods themselves had been inspired by the precision found in scientific language: investigating, selecting, classifying, ranking, and weighting. The design process itself was a process of divergence, transformation, then convergence; paradoxically inspiring something vaguely religious-sounding, like three consecutive John Coltrane albums. It turned out to be a fully realised theory of designing.
Designers could now exercise their creativity from solid theoretical ground – not the shifting sands of individual craft knowledge. And other designers could stand proudly with them. That was the theory anyway; in many ways it was laudable. After all, it was human futures that we were talking about, the seeds of a new world. History tells
it somewhat differently, of course, as history would. The book was well received, a breath of (nearly) fresh air. More power to the fist of the designer who, slowly but surely, began to thump the cover of the book in design meetings. “This is how we’ve done it” he’d say (for it was mostly a he), “we followed the method, we did the analysis,
we know this is the right decision because it was properly ranked and weighted”, he’d continue, “the solution structure perfectly fits the problem structure.” The misgivings anyone had were forced to adopt the same language and consequently were revealed as a sham. Indefinable judgement, a niggling feeling that things were not quite right, was ignored unless evidenced. The book thumping continued as text was quickly transformed into pretext.
Once the boat was floating, other people clambered aboard, desperate to be part of the journey. The “-ologist” – the not-quite scientist looking for a discipline – acquired a “method” prefix, and
a discipline was born. Bruce Archer worried about the boundaries of science, art, and design. Nigel Cross collected best practice. Stuart Pugh, perhaps after watching the Dutch football team at the 1974 world cup, came up with Total Design. Pairs of oarsmen climbed aboard: Roozenburg and Eekels, Hubka and Ernst Eder, Pahl and Beitz. All with the best intentions of course. Design problems were getting increasingly complicated, and their scope extended much further than anyone had first thought. Urban planners and architects were even fetching up in the boat. What nobody realised, however, was that Jones had already, quietly, disembarked.
Jones continued walking on foot. Maybe he was following the river; maybe he was finding his own path. Either way he worried about being misunderstood. The methods were not meant as blunt instruments to beat people with, thought Jones, they were tools to think with, to play intuition off against. If we follow a set of rules properly we arrive at a place that we couldn’t have foreseen, outside of the intuitions we had when the problem was first put in front of us. Intuition must form part of the ongoing process, thought Jones. Together, analysis and intuition balance one another out. And following rules creates new intuitions. The methods were meant to make things discussible and questionable, not definitive; to bring private thoughts out into the social world; to share responsibilities. The problem was that the most obvious question to ask after applying a method was always, “Do I like the answer?” Intuition always seemed to hold the best cards.
Somewhere on his long, still continuing walk, Jones embraced the idea of chance. “If we create a method that has elements of chance within it, we can really find out what we think”, thought Jones, “our intuitions become explicit.” This was method as revelation. If you can design a process that includes chance and live with the results, then you really know where you are going. “Method and intuition are two sides of the same coin,” thought Jones, as he carried on walking…

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This book is about the design approach ViP, Vision in Product design. ViP is the label of a method that first and foremost supports innovators of any kind to ‘design’ the vision – the raison d’etre – underlying their design. This vision is firmly rooted in a deliberately constructed future world. Since the vision defines the goal and not the means, the method can be applied in innovation processes of any kind. Hence its current title: Vision in Design.

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