A 6 hour workshop on teaching design (not design thinking)

1. Experiences and open
challenges teaching design
Workshop 20 Nov 2014

2. 150 Slides, 12 Activities in 6 hours
1. Defining and evaluating
design
2. Metamorphosis
3. Framing problems in (diverse)
teams
4. Cultivating awareness
5. Power of representations
6. Pizza
7. Empathy and insights
8. Functions and programs
9. Briefs
10.Creativity techniques and
habits
11.Studio learning and teaching
12.Survey

7. Papers used to prepare 3.007:
Design pedagogy:
- Dutton, T. A. (1987). Design and studio pedagogy. Journal of Architectural Educ, 41(1), 16-25.
- Dally, J. W., & Zhang, G. M. (1993). A freshman engineering design course. J of Eng Educ, 82(2), 83-91.
- Brady, D. A. (1996). The education of an architect: continuity and change. J of Arch Educ, 50(1), 32-49.
- Sheppard, S., Jenison, R., Agogino, A., Brereton, M., Bocciarelli, L., Dally, J., & Faste, R. (1997). Examples of
freshman design education. Int J of Eng Educ, 13(4), 248-261.
- Burton, J. D., & White, D. M. (1999). Selecting a model for freshman engineering design. J of Eng Educ, 88(3),
327-332.
- Dym, C. L. (1999). Learning Engineering: design, languages, and experiences. J of Eng Educ, 88(2), 145-148.
- Little, P., & Cardenas, M. (2001). Use of “studio” methods in the introductory engineering design curriculum. J
of Eng Educ, 90(3), 309-318.
- Kuhn, S. (2001). Learning from the architecture studio: Implications for project-based pedagogy. Int J of Eng
Educ, 17(4/5), 349-352.
- Wood, K. L., Jensen, D., Bezdek, J., & Otto, K. N. (2001). Reverse engineering and redesign: courses to
incrementally and systematically teach design. J of Eng Educ, 90(3), 363-374.
- Atman, C. J., Cardella, M. E., Turns, J., & Adams, R. (2005). Comparing freshman and senior engineering design
processes: an in-depth follow-up study. Design Studies, 26(4), 325-357.
- Wang, T. (2010). A new paradigm for design studio education. International Journal of Art & Design Educ, 29(2),
173-183.
- Frascara, J., & Noël, G. (2012).What's Missing in Design Educ Today?. Visible Language, 46.
- Friedman, K. (2012). Models of Design: Envisioning a Future Design Educ. Visible Language, 46.
- Froyd, J. E., Wankat, P. C., & Smith, K. A. (2012). Five major shifts in 100 years of engineering education.
Proceedings of the IEEE, 1344-1360.
Cross-disciplinary design:
- Howard, J. (1997). In Search of the Sweet Spot: Engineering, Arts, and Society in Design Curricula. Department of
Science and Technology Studies, Rensselaer Polytechnic Institute.
- Schumacher, J., & Gabriele, G. A. (1999). Product design and innovation: a new curriculum combining the
humanities and engineering. Frontiers in Educ Conf. (V1, 11A6-19). IEEE.
- Hirsch, P. L., Shwom, B. L., Yarnoff, C., Anderson, J. C., Kelso, D. M., Olson, G. B., & Colgate, J. E. (2001).
Engineering design and communication: The case for interdisciplinary collaboration. Int J of Eng Educ, 17(4/5),
343-348.
- Bronet, F., Eglash, R., Gabriele, G., Hess, D., & Kagan, L. (2003). Product design and innovation: evolution of an
interdisciplinary design curriculum. Int J of Eng Educ, 19(1), 183-191.
- Reimer, Y. J., & Douglas, S. A. (2003). Teaching HCI design with the studio approach. Computer Science Educ,
13(3), 191-205.
- Goff, R. M., Vernon, M. R., Green, W. R., & Vorster, C. R. (2004, October). Using design-build projects to
promote interdisciplinary design. In Frontiers in Educ, 2004. FIE 2004. 34th Annual (pp. S3C-27). IEEE.
- Ollis, D. F. (2004). Basic elements of multidisciplinary design courses and projects. Int J of Eng Educ, 20(3), 391-
397.
- D'souza, N. S. (2006). Design intelligences: a case for multiple intelligences in architectural design (PhD
dissertation, University of Wisconsin-M).
- Greenberg, S. (2009). Embedding a design studio course in a conventional computer science program. In
Creativity and HCI: From Experience to Design in Educ (pp. 23-41). Springer US.
- De Vere, I., Melles, G., & Kapoor, A. (2010). Product design engineering–a global education trend in
multidisciplinary training for creative product design. European Journal of Engineering Educ, 35(1), 33-43.
- Cennamo, K., Brandt, C., Scott, B., Douglas, S., McGrath, M., Reimer, Y., & Vernon, M. (2011). Managing the
Complexity of Design Problems through Studio-based Learning. Interdisciplinary Journal of Problem-based
Learning, 5(2).
Design methods and teams:
- Hitchings, G., & Cox, S. (1991). Designing a Course in Design Methods. Journal of Engineering Design, 2(4), 337-
349.
- Atman, C. J., & Bursic, K. M. (1996). Teaching engineering design: Can reading a textbook make a difference?.
Research in Engineering Design, 8(4), 240-250.
- Jensen, D. D., Murphy, M. D., & Wood, K. L. (1998). Evaluation and refinement of a restructured introduction to
engineering design course using student surveys and MBTI data. ASEE Annual Conf.
- Sachs, A. (1999). ‘Stuckness’ in the design studio. Design Studies, 20(2), 195-209.
- Atman, C. J., Chimka, J. R., Bursic, K. M., & Nachtmann, H. L. (1999). A comparison of freshman and senior
engineering design processes. Design Studies, 20(2), 131-152.
- Ogot, M., & Okudan, G. E. (2006). Integrating systematic creativity into first-year engineering design. Int J of Eng
Educ, 22(1), 109.
- Hirsch, P. L., & McKenna, A. F. (2008). Using reflection to promote teamwork understanding in engineering
design education. Int J of Eng Educ, 24(2), 377-385.
- Atman, C. J., Kilgore, D., & McKenna, A. (2008). Characterizing design learning: A mixed‐methods study. J of Eng
Educ, 97(3), 309-326.
- Sosa, R. and Albarran, D. (2008) Supporting idea generation in design teams, Engineering and Product Design
Educ (EPDE’08).
Design reviews, crits and assessments:
- Shannon, S. J. (1995). The studio critique in architectural education (Doctoral dissertation, University of
Adelaide).
- Uluoǧlu, B. (2000). Design knowledge communicated in studio critiques. Design Studies, 21(1), 33-58.
- Sara, R., & Parnell, R. (2004). The review process. Transactions, 1(2), 56-69.
- Thompson, A., Sattler, B., & Turns, J. (2011, October). Understanding a studio environment: A complex system
approach to a community of practice. In Frontiers in Educ Conference (FIE), 2011 (pp. F3H-1). IEEE.
- Dannels, D. P., & Martin, K. N. (2008). Critiquing critiques a genre analysis of feedback across novice to expert
design studios. Journal of Business and Technical Communication, 22(2), 135-159.
- Charyton, C., & Merrill, J. A. (2009). Assessing general creativity and creative engineering design in first year
engineering students. Journal of Engineering Educ, 98(2), 145-156.
- Goldschmidt, G., Hochman, H., & Dafni, I. (2010). The design studio “crit”: Teacher–student communication.
Artificial Intelligence for Engineering Design, Analysis and Manufacturing, 24(3), 285-302.
- Strickfaden, M., & Heylighen, A. (2010). Scrutinizing design educators' perceptions of the design process.
Artificial Intelligence for Engineering Design, Analysis and Manufacturing, 24(3), 357-366.

8. Teaching design since 1999:
- NUS, Singapore
- USYD, Australia
- ITESM, Mexico
- UAM, Mexico
- U Azuay, Ecuador
- Isthmus, Panama
- SUTD, Singapore
- ACI/NTU, Singapore
- AUT, New Zealand

10. Defining and evaluating design

11. Word association of “design”

12. Defining design: cases
• Select one design that you
consider great
• Write down what specifically
makes it so great
• If relevant, apply your
disciplinary knowledge to
explain
• Select 3 criteria that captures
the greatness of that design

13. Defining design: criteria

14. Defining design: evaluation

15. YikeBike is a statement about using smart
technology to solve the problems of our
increasingly congested, polluted,
stressful cities.
It is the first commercial expression of
the mini-farthing concept, created up by
a bunch of successful entrepreneurs,
engineers and dreamers.
We sat down to try and answer:
1. What is the simplest way to get from
A to B with the aid of a machine?
2. What is the smallest wheel you can
have to get a stable, safe,
comfortable ride?
3. Can you make something small
enough to be able to go with you
anywhere in a city?
4. Wonder if we could make a unicycle
dramatically easier to ride and fold?
Evaluating and Grading Design: Try it out!
$2,000 USD - $3,000 USD
http://www.yikebike.com/
Drive: Electric
Brushless DC motor
Battery: LiFePO4 -
40 min re-charge
Speed: 23 km/h
Range: 10 km

16. 1.“More information didn’t change my evaluation significantly”
2.“New information made my evaluation increase”
3.“New information made my evaluation decrease”
4.“The one type of information that significantly changed my
evaluation was ______”

17. Design (not design thinking)

19. Ambidextrous

20. “Metamorphosis”

21. http://www.inc.com/idea-lab/milton-glaser-design-has-nothing-to-do-with-appearance.
html
http://vimeo.com/5820010

24. Share experiences and challenges
Memorable experiences learning/teaching design
Main challenges learning/teaching design

25. available information
time into design project
% from total
20 40 60 80 100
design freedom
In other words, in design, innovation and entrepreneurship you start making decisions under high
uncertainty, and one of your aims becomes to obtain information throughout the process. Alas, you will
never have full information about a really novel idea.

26. What is design? It's where you stand with a foot in two worlds - the world of
technology and the world of people and human purposes - and you try to bring the
Mitchell Kapor, entrepreneur (1950-)
Recognizing the need is the primary condition for design.
two together.
Charles O. Eames, designer (1907-1978)
To invent, you Thomas A. Edison, inventor (1847-1931) need a good imagination and a pile of junk.
A designer is an emerging synthesis of artist, inventor, mechanic, objective
economist and evolutionary strategist.
Richard Buckminster Fuller, architect,
designer and inventor (1895-1983)
Engineering, medicine, business, architecture and painting are concerned not with the necessary but with the contingent - not
with how things are but with how they might be - in short, with design.
Herbert A. Simon, economist, computer scientist (1916-2001)

27. Design is a funny word. Some people think design means how it looks. But of
course, if you dig deeper, it's really how it works.
Steven P. Jobs, entrepreneur (1955-2011)
A great building must begin with the unmeasurable, must go through measurable means when it is
being designed and in the end must be unmeasurable
Louis Kahn, architect (1901-1974)
Necessity is often not the mother of invention. When humans possess a tool, they excel at finding new
uses for it. The tool often exists before the problem to be solved
David E. Nye, historian (1946-)
Form follows function - that has been misunderstood.
Form and function should be one, joined in a spiritual union.
Frank Lloyd Wright, architect (1867-1959)
The practice of design is a very complicated business, involving contrasting skills and a wide field of disciplines. It has always
required an odd kind of hybrid to carry it successfully
Bruce Archer, engineer and designer (1922-2005)

28. "you're sitting on a gold mine!“
http://www.youtube.com/watch?v=ZOF-j6Nxm04
“What we are trying to do… is remove that barrier”
http://www.youtube.com/watch?v=0lvMgMrNDlg&t=6m43s
“the germ of the idea was there”
http://www.youtube.com/watch?v=vpMeFh37mCE
Xerox could have owned the entire computer industry
http://www.youtube.com/watch?v=_1rXqD6M614
“That perspective is what gives us the feeling…”

29. Framing problems in (diverse)
teams

30. http://www.ted.com/talks/tom_wujec_build_a_tower

31. The value of prototyping: One reason why kids
do better than business school students is they
spend more time playing and prototyping.
Adults spend a vast amount of time planning,
then executing on the plan, with almost no time
to fix their design once they put the
marshmallow on top
http://marshmallowchallenge.com/Instructions.html

32. This is a metaphor for the hidden assumptions of a
project: that marshmallows are light and fluffy and
easily supported by the sticks.
Kids naturally start testing their designs with the
marshmallow on top. Adults tend to wait until the end
to place the marshmallow. After the structure is built, it
becomes clear that it is not so light!
We need to identify the assumptions in our project -
the real customer needs, the cost of the product, the
duration of the service - and test them early and often
http://marshmallowchallenge.com/Instructions.html

33. Reflect:
- Your role, strengths and behaviour during the activity
- Interaction with your teammates
- Communication
- Agreements, negotiation, synergies
- What other teams did
- Understanding, interpreting, planning and executing plans
- Unexpected events and recovery
- Action plan for the term project

34. Evaluate & refine
Not so well-framed problems:
1. “I want to help people lower their
energy consumption by automating
lights at home”
2. “Students need a system to locate
their lecturers outside class hours”
3. “Buildings should promote
courteous behaviours between
dwellers”
4. “We will design a baby stroller that
harvests energy”
5. “The efficiency of garbage collection
(cleaners) needs to be increased”
Well-framed problems:
1. “How to help people optimise
energy consumption at home”
2. “How can we help (what type?)
students clarify doubts outside
class hours?”
3. “Physical environment is not
conducive for positive
interactions among dwellers”
4. “How may a lengthy daily
activity harvest energy?”

35. What people… Methods Knowledge
Say
Do
Know
and feel
Interviews
Observation
Generative
sessions
Explicit
Tacit
Latent
Deep Surface
Adapted from: maketools.com

36. Cultivating awareness
[Close your eyes]

37. Introduction to Design 3.007 design.sutd.edu.sg
AEIOU framework:
- Activities: goal-directed actions. What are the modes people work in, and the specific
activities and processes they go through?
- Environments: arena where activities take place. What is the character and function
of the space overall, of each individual's spaces, and of shared spaces?
- Interactions: between people or with designs. What is the nature of routine and
special interactions between people, between people and objects in their
environment, and across distances?
- Objects: building blocks of environment, artefacts, spaces. What are the objects and
devices people have in their environments and how do they relate to their activities?
- Users: people whose behaviours, preferences, and needs are being observed. Who is
there? What are their roles and relationships? What are their values and prejudices?
http://help.ethnohub.com/guide/aeiou-framework

38. AEIOU Description (what is) Analysis (why it is) Questions, insights
Comparison to
assumptions, to other
situations and to
notes by other
observers
Activities
Environments
Interactions
Objects
Users

39. Share experiences and challenges
Memorable experiences in observation
Main challenges in observation

40. Power of representations

41. Introduction to Design 3.007 design.sutd.edu.sg
Idea sketching:
- Not artistic drawing
- A universal skill to think and communicate (like writing)
- Speed is more important than accuracy or artistry
- Learn to sketch:
- To observe and interpret
- To think and conceptualise
- To generate and develop ideas
- To communicate and convince

42. Introduction to Design 3.007 design.sutd.edu.sg

43. Thomas Edison
J. Utzon
Frank Gehry
http://www.brookbanham.com/sketches
A. G. Bell
Key idea is: speed sketching is NOT about aesthetic quality, but seeing/thinking/communicating in more and flexible ways to represent ideas

44. Lines

47. Extrusion

48. Orthogonal

49. Draw this shape
http://images.bit-tech.net/content_images/2010/08/fun-with-remote-control-vehicles/ar.drone.jpg

50. Draw
http://inhabitat.com/wp-content/blogs.dir/1/files/2012/07/Marfa-10by10-Candid-Rogers-Architect-3.jpg

51. Draw 3 views of:
http://www.piborg.com/images/TriBorg/TriBorg-PiCy-Full.png

52. Build something with:
url

53. Draw a happy cube
no decorations, only shape

54. Draw a baby cube

55. Draw an angry cube

56. BASIC TECHNIQUES
Jackson, Paul. Folding Techniques for Designers: From Sheet to Form. London: Laurence King, 2011. Introduction to Design

57. Jackson, Paul. Folding Techniques for Designers: From Sheet to Form. London: Laurence King, 2011. Introduction to Design

58. Jackson, Paul. Folding Techniques for Designers: From Sheet to Form. London: Laurence King, 2011. Introduction to Design

59. Jackson, Paul. Folding Techniques for Designers: From Sheet to Form. London: Laurence King, 2011. Introduction to Design

60. Jackson, Paul. Folding Techniques for Designers: From Sheet to Form. London: Laurence King, 2011. Introduction to Design

61. Jackson, Paul. Folding Techniques for Designers: From Sheet to Form. London: Laurence King, 2011. Introduction to Design

62. Activity
Teams 1, 2:
At least 10 ways of weighing an elephant
Teams 3, 4, 5:
A smartphone stand that amplifies sound

63. Activity
- Test early (weight AND sound)
- Individual AND team
- Paper AND other materials?
- Sound, not screen

64. Empathy and insights

65. Interviewing activity:
1. Form triads (A, B, C) where the following roles are assigned: interviewer,
interviewee and observer
2. Roles:
1. The interviewer conducts a natural conversation with the interviewee
to obtain information defined by the instructors.
2. The interviewee engages in the conversation facilitated by the
interviewer, responding openly and as naturally as possible.
3. The observer remains silent analysing the conversation, taking notes
of the process: how the interviewer starts and stirs the dialogue, how
the questions succeed/fail to engage the interviewee.
3. Activity:
1. Form triads A, B, C. The instructors will define the roles and request
that interviewees leave the room for 3 minutes. The instructors share
with interviewers and observers what is the theme for today’s
exercise, and they discuss and prepare a strategy and guiding
questions to conduct the interview.
2. Interviewees enter the room, and the groups start the interview
process. Observers are strictly barred from talking, gesturing or in any
way communicating or interfering in the interview. Their role is
unobtrusive and passive, taking notes of the flow of the process
(successful and unsuccessful ‘moves’). Interviewers take note of the
most important responses and write down new questions to ask.
3. After 15 minutes, the interviews stop and each of the participants
writes down their experience, aided by the prompts provided here.
4. Share lessons learned and questions
Prompts:
- For interviewees:
- What part(s) of the conversation made you feel comfortable and to
open up, reflect and share your ideas?
- What part(s) of the conversation were uncomfortable or awkward and
made the interview less effective or enjoyable?
- What would you have done differently if you were the interviewer?
- What are good ways to make someone feel that you are really listening
to what they are saying?
- For interviewers:
- What worked or didn’t work from your initial strategy or plan to run
the interview?
- What do you think worked or didn’t work to make the interviewee
open up and share their ideas?
- What would you do differently next time you interview someone?
- For observers:
- What part(s) of the conversation do you think were more effective?
- What part(s) of the conversation do you think were less effective?
- What do you think that the interviewer could have done differently?
- What do you think that the interviewee could have done differently?
- Why do you think it is difficult to interview people in general?
- Why do you think it is useful to interview people in general?
- For all:
- How are interview questions different from survey questions?

66. Questions to ask yourself when planning an interview or a survey:
- Can I get this information in easier or more reliable ways? (Census, published studies,
estimates)
- What do I want to find out with this activity?
- Who should we talk to? Am I avoiding sample biases?
- How can we approach people to build trust and obtain meaningful responses?
- How might the interviewee feel engaged or offended or interested in this dialogue?
- How would I feel if someone asked me these questions? How can my intent be
misunderstood?
- What ethical risks am I taking? What assumptions are we making?
- How many people do we need to talk to?
- Have we piloted our questions? Are they clear?
- How can we critically analyse what people told us? What didn’t they tell us?
- Do the responses simply confirm my own biases and ideas? Or do they reveal new,
unexpected issues?
- Why are these responses so consistent/inconsistent, short/long, clear/confusing,
expected/unexpected?
- Are these responses useful to reveal and clarify issues, or can we justify conclusions from
them?

67. How often do you use it?
Do you know how to do __
function?
What problems do you have?
Do you like it?
Which one do you prefer?
How do you use it?
Please teach me how to do __
function
Troubleshoot problem ___
What do you like/annoys you most?
Compare

68. How many hours do you sleep?
Do you feel rested in the morning?
Do you have insomnia?
Would you like to track your sleep
patterns?
Do you think you get
less/average/more sleep than your
peers? Why is that?
Would you like to change something
about your sleep?

69. “ The problem/issue our team is interested is: __________________________”
Human
Personal
Society
Physical
Psychological
Emotional
Safety
Usability
Time
Growth
Change
Movement
Flows
Interactions
Cycles
Operation
Environment
Context
Resources
Climate
Waste
Transportation
Footprint
Pollution
Economy
Finance
Profits
Distribution
Labour
Costs
Income
Culture
History
Institutions
Political
Laws and rules
Traditions
Power
Information
Aesthetic
Form
Meaning
Perception
Experience
Composition
Proportion
Technology
Materials
Systems
Knowledge
Access
Functions
Energy
Science
Others
…

70. Sample questions:
Food:
1. How would you use food to introduce your own culture to your friends?
2. What guides your decision in your choice of food? (general)
3. What are the factors you consider when preparing meals for your family? (assumptions)
4. What are some food which you should avoid yet continue to eat?
5. What do you think are the sickness/disease eating this food?
6. Would you like to change your eating patterns?
7. How health conscious are you about the choice of what you eat? (pressure)
8. How does the presentation of food affect your appetite?
9. How does the material of your eating utensils affect your appetite?
Sleep:
1. How often do you feel tired in the morning?
2. What activities do you do before you sleep?
3. What is your sleeping position?

72. Share experiences and challenges
Memorable experiences cultivating empathy
Main challenges cultivating empathy

73. Functions and programs

74. Activity Diagrams: Hotel check-in
The green diagram models the current customer
experience of entering a hotel where guests
(family) arrive through the entrance, split during
check-in such that one person checks in and the
rest can wait in the lobby; and finally after check-in
the family goes to the hotel room together.
Challenge elements and relationships; think of
alternatives. For example, reverse the main person
flow from entrance to the reception triggers an
idea of having the receptionist walk to the arriving
family instead.
Complete the check-in process in the hotel room
thus eliminating the lobby function.
Reception
Entrance
Lobby
Hotel room
Reception
Hotel room
Family
Entrance
Family
Rest of the
family
One person
One
person
Family
Family
Receptionist
Rizal Muslimin

75. Strategy: Reversal
LOUNGE
SEAT &
CHECK IN
ROOM
REST
RECEPTIONIST
GATE
ENTER
Reverse the direction in the relationship
Instead, make the receptionist approach the guest

76. Analysis: Technology
LOUNGE
SEAT
ROOM
REST
RECEPTION
CHECK IN
GATE
ENTER
Automation

77. Strategy: Substitution
Replace existing component with new technology
AUTO-RECEPTION
CHECK IN
ROOM
REST
GATE
ENTER

78. Strategy: Subtraction
AUTO-RECEPTION
CHECK IN
ROOM
REST
GATE
ENTER
Eliminate one or more component
In this case, the gate or the lobby it self.

80. Functions
____ ____ ____ ____ ____

81. Analysis
• Activity diagram of doing your laundry
•Functional model of your washing machine

82. Design Briefs

83. From problems to strategies to solutions
Engineering Design and Communication. Principles and Practice. Yarnoff et al., Northwestern University
Basic parts of a design brief:
1.Goals and vision of the new design
2.Budget and schedule
3.Target audience and scope of the
project
4.Analysis of precedents, functions,
activities
5.Requirements
6.Constraints including resources and
time
7.Deliverables and deadlines
webdesignerdepot.com

84. Oakley Disruptive By Design Competition Brief:
“Create an innovative design that will disrupt elite sports performance in a way
that hasn’t been seen before. It needs to be an idea that's more than just an
adaptation of an existing approach. It needs to be something new and radical.
Something that is truly Disruptive by Design. The most disruptive ideas come
from unfamiliar and unexpected places. Take inspiration from the wider world:
nature, aerospace, architecture, science fiction. There should be no limits to
your sources. There are also no restrictions on the format of the design. It could
be a product, a garment, a new way to use technology, a digital design, or
something entirely new that responds to or enhances elite sports performance.
Prove that you have what it takes to be one of the disruptors of the future, and
you could win the opportunity to immerse yourself in the R&D culture at
Oakley’s Design HQ in California, USA.” More: disruptivebydesign.com

85. “…when I first entered the company I often said that I wanted
to make the sort of games you could play with your
grandmother. I had an image of games not feeling out of place
in the living room. Of course, this could have been around the
fireplace, at the dining table, the coffee table, or anywhere. I
just wanted to make a game that would be fun for the entire
family. I've found myself sitting all alone, starting up a game and
feeling a bit cut off from the world. I wanted to change this.
That is, I wanted to make gaming a little less lonely. In my
mind, the Wii Remote belongs on the coffee table. I spent a
long time discussing with a whole range of people about what
we could do to achieve this”
Listening to everyone here talk about Wii reminds me that the
most important thing was clearly defining our vision. Even if it
was a vision without a precedent.”
iwataasks.nintendo.com/interviews/#/wii/wii_channels/0/0

86. Strategies that are too general:
1. Child obesity in Singapore
2. People want to optimise energy usage but find current solutions difficult to install and
use
3. To help youngsters develop teamwork skills
4. Reduce water consumption in washing machines for the home
5.Many elderly suffer social isolation
6. Incentivise courteous behaviour in the subway (MRT)
Strategies that are too specific
1. To design a GPS-enabled game to make children do exercise
2. ‘DIY plug-and-play’ sensors to automate lights eliminating need of expensive
installations
3. Design fun activities (games) to teach youngsters teamwork
4. Design a waterless and ozone-based laundry system for the home
5.Make elderly go out and socialise more
6. Use augmented reality to promote proper use of reserved seating in the subway (MRT)

87. Evaluate & refine
Poor requirements:
1. The product should be lightweight
2. This product needs to be safe
3. The product should be user-friendly
4. The product needs to be low cost
5. The design needs to be sustainable
www.sciencebuddies.org/engineering-design-process/design-requirements-examples.shtml
Better requirements:
1. The product…

88. Creativity techniques and habits

89. Rules of brainstorming
Individually list the main rules of brainstorming
Consolidate in teams and present

90. Brainstorming rules
[Can be used to explore
problem and/or solutions]
1. Define goals and keep focus
2. Set time limit (max 20’)
3. Maximise quantity: a storm of
ideas
4. Defer evaluation: no judging,
no criticising, no praising
5. Build on the ideas of others:
combine, improve and
transform ideas (1+1=3,
opposite of green?)
6. Prioritise unusual, wild, crazy
and silly ideas
7. Flat hierarchies
8. Learn to listen
9. Decompose and mix ideas
10. Take turns, take individual
notes
11. Capture ideas (writing,
sketching, audio record)
12. Avoid claiming ownership
13. Build rapport

91. Practice (pairs)
Ideation: ShapeStorm
Exploration and exploitation

92. C-Sketch (N-3-5)
Collaborative Sketch:
- N individuals form a team, they sketch 3 or more ideas on a
large format paper and pass their drawings every 5 minutes
until one cycle is completed
- Participants are encouraged to draw on others' ideas for
inspiration, thus stimulating the creative process
- Ambiguity, re-interpretation and re-representation are
supported by this technique
- Activity is strictly run in complete silence

94. Suggestions to cultivate creativity beyond the use of techniques:
• Become an avid learner across traditional disciplines (and unlearn a few things, too)
• Make things, build stuff (and break apart others)
• Sketch and write down your ideas
• Cultivate analogical/metaphorical reasoning
• Be curious, inquisitive and persevere, question everything
• Identify your strengths, find your own way
• Learn to collaborate, find partners and accomplices
• Try new things once in a while, if possible visit or travel to unexpected places
• Talk to strangers, watch and read unfamiliar topics
• Improvise, be flexible, adapt and don’t be afraid to change your mind
• Ask questions, value feedback, learn to listen
• Learn a few techniques and practice, practice, practice

95. “a bestselling book on creativity for people
who do not like books on creativity”

96. “You cannot prove from past data whether any new thing in the world – any
new idea or innovation – will work. Managers are inclined when someone
puts forth with a new idea to respond, “Prove it in order for me to go
forward”. That’s what a good manager does these days – he or she is
analytical and asks for proof. But since you can’t prove a new idea in
advance, all the new ideas are viewed as dangerous and problematic
because they aren’t provable.”
Roger Martin,
Dean of Rotman School of Management

97. Individual survey self-perception of creativity

98. Experiences and challenges
Memorable experiences generating/evaluating ideas
Main challenges generating/evaluating ideas

99. http://www.mech.utah.edu/senior_design/07/uploads/Main/Lect12-ConceptSelection.pdf

100. Studio learning and teaching

101. Introduction to Design 3.007 design.sutd.edu.sg
Early evaluation
Desirability
Feasibility Viability

102. DATUM OPTION 1 OPTION 2 OPTION 3
Swivel Chair w/
Hinge Leg
Hydraulic
Swivel Chair
Shower Grips Tub Door
Sketches
0 + +
- + 0
0 + -
0 - +
+ - 0
CRITERIA
Aesthetics
Intuitive use 0 + 0
- + 0
0 + 0
- 0 0
0 + +
0 + 0
Total + 0 1 8 3
Total 0 0 7 1 7
Total - 0 3 2 1
0 -2 6 2
Space required
Universal
TOTAL
DATUM
Cost (low preferred)
Ease of installation
Safety in use
Ease of entering/exiting tub
Ease of maintenance
Bathing comfort
Noise
OPTION New
Seating ledge
+
+
+
0
0
+
+
+
0
0
+
7
4
0
7
Preliminary concept rating using a Pugh chart including adding a new concept after “attacking the negatives”
The essence of using a Pugh chart
is to define the evaluation criteria
based on your requirements,
assess a selected set of concepts
against those criteria, discuss the
assessment and results as a team,
improve the concepts by attacking
the negatives and finally select one
or few concepts for further
exploration. For this early rating , it
is advisable to start with a minimal
ranking scale of {+, 0, -} and
compare the concepts against a
‘datum’ (usually a competitor’s
product or the current solution).

103. One Selection Tool + a few Objections
Video: “The Concept Selection Matrix” by K. Ulrich
Https://class.coursera.org/design-002/lecture/40
“You shouldn’t get too excited” (08:46)
“We can’t reduce everything to a quantitative evaluation” (11:20)
103

104. "both quantitative and
qualitative factors must be
taken into account…
Design is a messy kind of
business that involves
making value judgements
between alternatives”
104

105. Things to consider…
• Engage in open team discussions when defining the matrix (rows and
columns)
• Be careful of aggregate criteria, when relevant: decompose, clarify, prioritise
• Upon difficulties and conflicts, establish ground rules and repeat the activity
• Distinguish between objective and subjective indicators, define them
carefully. Beware of: “we usually measure what is easy to measure, not
necessarily what is important”
• Don’t focus on the values themselves, use them to talk about the ideas and
what is truly important in a holistic way
• Work across teams: get feedback from people who are not familiar with
your project
105

106. Pugh Chart: Design Chart
DATUM OPTION 1 OPTION2 OPTION 3 OPTION 4 OPTION 5 OPTION 6 OPTION 7
Sketches
CRITERIA
DATUM
Total + 0 0 0 0 0 0 0 0
Total 0 0 0 0 0 0 0 0 0
Total - 0 0 0 0 0 0 0 0
TOTAL 0 0 0 0 0 0 0 0

107. Critique
http://www.boyinpinkearmuffs.com/banapplenut/comic/dance-critique/

108. http://makecollab.com/2012/the-college-critique-whos-to-blame/

109. http://www.slideshare.net/frogdesign/making-clients-part-of-the-design-process

110. http://99u.com/articles/7224/why-fighting-for-our-ideas-makes-them-better

111. Prototyping
minecraft.net

112. Prototyping
Scenarios
http://martini.mitplw.com/blog/?p=954

113. Prototyping
Scenarios
http://martini.mitplw.com/blog/?p=954

115. Key Q’s What needs testing?
Scale, assemblies and materials?
Structural behaviour and costs?
Physical or virtual prototype?
Decisions to build model/prototype:
materials, processes, time, modifications…
Appearance or functionality or usability?
Parallel or serial prototypes?
Available resources? Learning?
Persuasiveness?

116. Evaluate & refine
Prototyping: transformable furniture

117. Prototyping
http://martini.mitplw.com/blog/?p=954

118. Restrain
Actuate

119. Who would most benefit from this?
Target Area
Typically Dead
Space?

120. Wishful
Reality

121. Side crank Center handle
top view top view

122. 2mg
Mg
How much force is
on this support?
What diameter
should it be?
What clearance is
needed here?
http://mathworld.wolfram.com/BookStackingProblem.html

123. Arch Gameplay?
Actuate
Need Two Folks?
Actuate
What’s
underneath?

124. Restrain
Actuate
Add Side Walls?
Add Wheels?

125. What determines
slot elongation?
How to get rid of
horrible hack job

126. feels grounded… feels flying…
50mm
75mm
5mm

127. How should the mechanism feel?

128. Comfort levels?
Add safety
features?
Burning Joules?

129. One-off piece or mass production?
Unitized?
Stand alone units
Modular?
Plug In Units
Support
Structure
What happens if many
together
Just stand next
to one another
Could they be
interlocking?

130. Material affective and performance properties?
Energy/Cost? Weight? Strength?
Texture? Colors?
Haptics?

131. So what is the difference, impact, innovation etc?

132. A
B
C
http://25.media.tumblr.com/935fa0bd19cd7f4edfcb7528cffd21ad/tumblr_mga6unWcNt1rgmlf9o1_1280.jpg
Ford Model T
http://www.gutenberg.org/ebooks/7213
F K N R S
http://www.goldcoastmodela.com/Early_Ford.pdf
http://www.mtfca.com/discus/messages/331880/347933.html?1363551928

133. http://www.andrewmoisey.com/guernica2.html

134. $100 laptop: 2005
http://news.bbc.co.uk/2/hi/technology/4292854.stm

135. http://wiki.laptop.org/go/Pictures

136. http://news.cnet.com/2300-11386_3-10012657-7.html

137. http://wiki.laptop.org/go/Pictures
“XO laptop”

138. http://wiki.laptop.org/go/Pictures
http://www.flickr.com/photos/pete/sets/72057594143224765/with/152123539/

139. http://www.fuseproject.com/pdf/OLPC%20Case%20Study.pdf
OLPC: 2007

142. http://www.fuseproject.com/category-1-product-65

144. Fernando Prieto, Ricardo Sosa. “TetraBus”: Children Museum on Wheels. Client: Tetra Pak Mexico (1996-1997)

146. Co-Design and Low-Fidelity
Prototyping: Immediate and sketchy
3D representations using paper,
cardboard and any available parts
http://www.studiotilt.com/blog/2011/02/03/the-hub-kings-cross-co-design-workshop/
http://paipr.wordpress.com/projects/rapid-low-fi-prototyping/
http://www.robives.com/blog/swinging_legs_experiment

147. http://www.slideshare.net/lightingbeetle
MVP: Minimum Viable Product

148. 148

149. Pivot
http://www.fastcompany.com/1836238/how-eric-ries-coined-pivot-and-
what-your-business-can-learn-it

150. Introduction to Design 3.007
Project-oriented
learning
Studio-based
learning
PROJECT ≈ STUDIO
week 1 discover define develop deliver

151. Grading: rubrics
[Assessment of posters:
individual grading, inter-rater agreement]

152. Individual Survey
- Reflection of initial ‘word association’ exercise
- Main departure(s) from “Metamorphosis” survey?
- Main learning today (3 ideas from course, peers, own)
- Main To-Do items from today (“I need to…”)

153. • “Achieving a good aesthetic (appearance)
of products is the main purpose of design”
• “A good designer achieves an optimal (the
best) solution”
• “Great designers educate the public on
what they need/desire”
• “Products that are aesthetically pleasant
are well-designed products”
• “The design process can be highly
systematised by methods and techniques”
• “Good design decisions are based on
measurable factors and indicators”
• “The decisions that really matter in the
design process aren’t measurable at all”
• “Good designers should spend little time in
framing a problem and most of their effort
in generating solutions”
• “Mediocre designers often change the
problem, requirements and constraints
given to them in the brief or contract”
• “Mediocre designers tend to work in
several projects at the same time,
combining ideas between projects”
• “Curiosity is the most important part of the
design process”
• “The success of a product in the
marketplace is caused mainly by its high
quality and design”
• “In a team, it is easy to spot the great ideas
contributed by the most creative
designers”

154. Design methods, techniques and tutorials:
- Hanington, B. and Martin, B. (2012) Universal Methods of Design, Rockport
- Dym, C.L. and Little, P. (2009) Engineering Design, John Wiley & Sons
- Kumar, V. (2013) 101 Design Methods, John Wiley & Sons
- Sanders, E. and Jan Stappers, P. (2012) Convivial Toolbox, BIS Publishers
- Smulders, F., Brehmer, M. and van der Meer, H. (2014) Teamworks by students, for
students, Mosaic.
- Human-centred design toolkit by IDEO
- Experience Workbook, California College of the Arts
- Design Council UK methods: www.designcouncil.org.uk/news-opinion/introducing-design-
methods
- Design and Communication course at Northwestern
- Google Design Sprint: www.gv.com/lib/the-product-design-sprint-a-five-day-recipe-for-startups
- Design Manifestos: backspace.com/notes/2009/07/design-manifestos.php
- Design: Creation of artifacts in society by Karl T. Ulrich, University of Pennsylvania, 2011
- The Design of Design: Essays from a Computer Scientist by Frederick P. Brooks Jr.,
Addison-Wesley Professional, 2010
- MindTools techniques: mindtools.com
- Design Methods: dschool.stanford.edu/use-our-methods
- Folding Techniques for Designers: From Sheet to Form. Paul Jackson
Inspiring talks:
- David Goldberg engineering education: youtu.be/Rp9PfqUQ8a4
- Plus-ing: www.edutopia.org/randy-nelson-school-to-career-video
- Learn to pivot: www.fastcompany.com/1836238/how-eric-ries-coined-pivot-and-what-your-
business-can-learn-it
- The Story of stuff: www.storyofstuff.org
- Ken Robinson on creativity: www.ted.com/speakers/sir_ken_robinson
- Bran Ferren art and engineering: www.ted.com/speakers/bran_ferren
- C. Downey design with the blind in mind: ted.com/speakers/chris_downey
- John Maeda art, design and technology: ted.com/speakers/john_maeda
- Alastair Parvin WikiHouse: www.wikihouse.cc
- J. Hockenberry we are all designers: ted.com/speakers/john_hockenberry
Design apps, portals and resources:
- Massive Change Network: www.massivechangenetwork.com
- Aviary: www.aviary.com
- Blender 3D: blender.org
- SketchUp 3D: sketchup.com
- Architecture for humanity: architectureforhumanity.org
- Product design articles: www.core77.com/reactor
- 99% perspiration: 99u.com/articles
- Architectural Digest: www.architecturaldigest.com
- Lean StartupMeets Design Thinking: youtube.com/watch?v=bvFnHzU4_W8
- Recommended apps:
- Color Scheme Generator by wanobano
- Color Harmonizer by Brandon Burton
- 6 Thinking Hats by Zmok
- IdeaCard by crevatelab
- Create-O-Mat by gagarin
- Idea Growr by Julius Huijnk
- Patent Search Free by CRinUS
- GanttMan by Martin doudera
- Alarm Clock Plus by Binary Tactics
- Studio Design by Overlay
- Moldiv by JellyBus
- iD Cards by Loughborough University
- Design Dimensions by Arc Mist
- Evernote by Evernote Corp
- SwatchMatic by AppBaan
- Designmuseum Danmark by Designmuseum
- VideoShow by X-Video Studio

155. Thank you!
sosa.ricardo@gmail.com