Class One
The Horizons of the Artificial, Lecture
This lecture explained the impact of technology on our lives, showing how it increasingly defines our existence and blurs the line between the natural and artificial worlds. As technology has evolved over time, it has become critical to understand our dependence on it and to develop a relationship with its influence. This reflection can lead to more thoughtful and responsible design practices.
A personal example of this was my experience using cruise control during a long drive. While I was familiar with the concept of cruise control, actually using it showed how it impacted my driving habits and comfort, showing how technology can seamlessly integrate into my own routine. Given this, how can designers and engineers continue to evolve their practices while ensuring they remain ethical and inclusive to diverse populations?
Futuring, The City, & Sustainment, by Tony Fry
Tony Fry’s lecture emphasizes that design choices are not only about addressing present needs but also about shaping the future. He says by making conscious decisions that account for long-term consequences, designers can better focus on sustainability. What was interesting is Fry’s discussion on chronophobia — the fear of time — which limits design thinking. He proposes a new educational approach that incorporates the passage of time into design thinking, teaching students to consider time as a medium in their design processes, rather than focusing solely on space. This proposal allows for a better understanding of the long-term impacts of design decisions.
A quote that I have heard before resonated with me during his lecture: “Short-term solutions create long-term problems.” Relating this quote to a real-life example, it reflects issues in healthcare and social justice, where short-term actions, such as relying on policing instead of proactive support, create systemic inequalities. For instance, marginalized communities often face barriers to healthcare, and misuse of the police force within this context further deepens these disparities.
In light of this, how can design programs in colleges integrate the concept of time as a central theme to ensure that students consider both short-term and long-term impacts in their design decisions?
The Creative Process, by James Baldwin
This reading explains the artist’s role in challenging accepted norms and revealing the truth about society. It says that while society may avoid confronting uncomfortable realities, artists face these fears and illuminate them. The reading also discusses the concept of solitude, which artists embrace as part of their creative process. A key takeaway is that artists expose hidden aspects of society and history, contributing to a more equitable society.
For example, Vincent Van Gogh’s work, which is now celebrated and I admire, was undervalued during his lifetime. This raises my burning question: Why are artists often underpaid or struggle to make a living, despite the significant effort and value they contribute? I often hear that getting an arts or journalism degree is considered a waste of time because these fields won’t lead to a stable income in the end. However, artists and designers have the ability to create meaningful change through their design work, just as journalists can impact society with their reporting and writing.
Design for the Real World, by Victor Papanek
This reading explains that design goes beyond aesthetics; it’s not just about making things look pretty, but about solving real problems. The author points out that everyone is a designer in their daily life, whether it's reorganizing a desk or baking a pie. However, the issue he touches upon is that designers often focus too much on style rather than concerns like accessibility and sustainability.
My key takeaway is that design should be more than aesthetics, which I’ve embraced in my own practice. During my undergrad in Graphic Design at Rutgers-Newark, the curriculum emphasized designing for change, teaching me to use design as a tool for activism. Design isn’t just about arranging images, symbols, and text, it’s about what these elements communicate to a larger audience. Given this, how can we encourage designers to not only design for marginalized communities but also collaborate with them to create solutions?
CLASS TWO
Theorizing Sketching & Craftsmanship, Lecture
Nigel Cross argues that designers are comfortable with working through messiness and complexity, allowing them to reframe problems as they go. So, instead of looking for immediate clarity, designers continuously reframe and redefine until they find a solution. This iterative process helps in breaking down complex problems. My key takeaway from this lecture is Bryce Lawson’s seven types of drawings. I was very interested in how he broke them down, and it helped me understand some differences in how I want to approach sketching moving forward.
A real-life example that embraces the iterative process of sketching can be found in a friend I have who recently graduated from FIT’s Fashion Design program. When designing a new piece, she has to sketch the same article of clothing numerous times, to ensure the problem is being solved. This leads to my burning question: How can I break free from a perfectionist mindset and fully embrace the fluidity and free flow of sketching?
Sketching User Experiences, by Bill Buxton
What I found interesting about Buxton’s reading is his emphasis on the importance of ambiguity in sketching. He says that sketches aren’t meant to be fully finished, instead, they are designed to spark creativity and allow room for interpretation. They encourage exploration and new ideas, which is why they are important in the first stages of the design process. My takeaway is that perfection is something that I should stop trying to work towards, as it limits my creative process. Ambiguity allows for more innovative solutions that can be overlooked if concepts are narrowed down too soon. In my work, I have focused too much on getting things right the first time instead of embracing uncertainty.
Although not entirely related, a real-life example that follows this process of sketching and free flow is songwriting. Artists often record versions of songs with incomplete melodies, humming over a beat to experiment until they find a rhythm they enjoy. I also do this when I write my songs. This approach is similar to the creative freedom that sketching can offer, as Buxton mentioned. With this being said, my burning question is: Since sketching is such an integral part of the design process, why are there no classes in undergrad dedicated to the sketching process and development of ideas?
The Miseducation of the Doodle, by Sunni Brown
Sunni Brown explains the importance of doodling, which is often overlooked as a trivial activity. Immunologist Virginia Scofield, from the article, credits her success as a doctor to doodling. What I find interesting is that she used something associated with the design world to help make the pre-med world much easier. My key takeaway is that doodling is more than just random sketches as it can involve six different “basix” elements, from letters and bullets to faces and shading. I use a mixture of words and lines when I sketch, but I want to start using a full combination of the six techniques. What I find interesting about this article, is that during my undergrad, after transferring from community college, I switched my major to pre-med and found myself studying in a similar way to Scofield by using design as a means to make complex information, especially in Anatomy and Physiology, more understandable.
Although I struggled to think of a real-life example, my old college roommate comes to mind. When she was overwhelmed, she would grab a notebook and a pen and start doodling to distract herself from everything that was going on. So, while some people use sketching to spark new ideas, others use it to manage stress and distract them from life. This leads to my burning question: Why is doodling often seen as a distraction in places like grade school, despite its cognitive benefits? My sister has told me a few times she would get talked to for doodling while taking notes in class, even though it helped her focus.
Sketching: Visual Thinking Power Tool, by Mike Rodhe
Mike Rohde argues the importance of sketching, describing it as a “problem-solving and communication tool” that has been very beneficial for him. He dismisses the myth that only artists can find sketching helpful, by explaining that there is value in it for anyone, not just for creatives. I found the article very informative because it offers a lot of sketching techniques and a reference list for further exploration. This supports the idea that sketching can be for anyone, regardless of their career choice or creativity levels, since the key is to enjoy the process.
A takeaway that stuck with me is the line, “Ugly gets the job done just fine.” This reminds me that I need to be okay with preliminary sketches and to understand that there is no such thing as a wrong sketch since anything that I sketch is meant to communicate more effectively with others or myself. A real-life example that connects with the article is from one of my undergraduate professors. During a logo design lecture, they pulled out their sketchbook and showed us how they used fifteen pages just for conceptual sketching. Despite not being satisfied with every concept, they pointed out that it was important to embrace the entire process since it helped them explore the alternatives.
With that in mind, a burning question I have is: How can individuals overcome their fear of imperfection when it comes to the creative process? Also, for those who enjoy sketching, what thoughts guide you from point A to point B, and eventually from point A to point Z?
Class three
Use & Social Practices, Lecture
Heidegger's concept of “ready-to-hand” is fascinating because it explains how tools or objects become invisible when in use until they malfunction or break. In other words, tools function as extensions of ourselves, but they only come into focus when they fail to perform as expected. My key takeaway from this lecture is that good design, like these tools, should be so intuitive that we barely notice it. The more seamless a design is, the less we would need to think about it.
A real-life example from my undergrad experience relates to Donald Norman’s interpretation of affordances. In a senior-level class that focused on this concept, we spent the entire semester exploring how our chosen mediums would shape the available affordances. To preface, the course was to interpret a narrative through two different mediums and identities, both very different from one another. For example, my narrative was focused on facilitating mental health dialogue in the elderly community. I chose an interactive application that encouraged touch and engagement and a pamphlet that offered a more passive, physical experience. This leads to my burning question: How can designers continue to ensure that tools remain invisible when they become more complex?
What Can A Body Do, Sarah Hendren
In her virtual event for New America, Sara Hendren explored how design can be reshaped to better accommodate diverse bodies, including disabled populations and the elderly. One topic that I found interesting was her concept of "design for slowness." She cited the Green Man Plus program in Singapore, which extends crosswalk times for slower pedestrians. This is a simple yet thoughtful design choice that improves safety for these groups.
I find this interesting because such a seamless adjustment can greatly impact how people experience their environment. My key takeaway is that the built world needs to be more accommodating for all populations, and we, as designers and the next generation, have the power to make that change.
A real-world example that connects to designing for marginalized communities is Stalled!, which addresses transgender access to public restrooms, and their prototype creates inclusive public restrooms that respect individuals' gender identities. With that being said, my burning question is: How do we reshape concepts like independence and normalcy in a world that has privileged certain kinds of bodies?
Technology Affordances, by Bill Gaver
One interesting aspect of this reading is that affordances extend beyond physical attributes, they also involve sensory cues such as sound and touch. While I learned about affordances during my undergraduate studies, I was particularly drawn to the author’s view on sequential and nested affordances in the design process. My key takeaway is the importance of understanding and incorporating these nested cues into design. Designers need to consider how users will engage with every element of an interface or object to create a more intuitive and seamless experience.
A real-world example that relates to the auditory cues discussed in this reading is my experience with public transportation in New York City. The loud sounds of the doors opening and closing, along with the train’s beeping before it stops, serve as helpful cues. These cues help me know when I should start rushing if I am running behind. With that being said: What strategies can be implemented to ensure that affordances are accessible to individuals with disabilities?
A Brief Rant on the Future of Interaction Design, by Bret Victor
This reading argues that future technology should accommodate full human capabilities rather than relying on the interaction of sliding a finger on a glass screen, a model the author calls "Pictures Under Glass." Since this article was written in 2011, it is amazing how technology has evolved since then. In my daily life, I play my role in this "Pictures Under Glass" paradigm, using flat screens for almost all my tasks. Still, my experience at NYU Tandon has shown me how emerging technologies have been using the full potential of human interaction. This brings me to my key takeaway: the author’s focus on the power of our hands. He argues that hands can feel things and manipulate things, and we depend on them every moment of every day. This article has made me realize how powerful hands can be, and how we use them for everything subconsciously.
A real-world example that connects to this reading is the Oculus, a virtual reality device my sister has. She plays this one game called “Monkey Tag,” which uses her entire body. She climbs, bends, and reaches for things in real life to interact with the virtual game. This shows how technology is starting to incorporate more human capabilities, which goes beyond the “Pictures Under Glass” model that the author talked about. This brings me to my burning question: If technology is already incorporating more of the human body, where will it be in the next 10-20 years? What are your thoughts on how technology will continue to evolve?
Class four
Metaphors & Models in Thought & Creativity, Lecture
George Lakoff explains how metaphors not only influence language but also shape the way we think and perceive the world around us. I found this interesting because it shows just how important metaphors are to our thought processes, often guiding our understanding without us realizing it. My key takeaway connects to Gareth Morgan’s insight on outdated metaphors: while the right metaphor can improve clarity and allow for more effective communication, relying on outdated ones can limit creativity and innovation.
A real-world example that comes to mind is my father often reminding me that "knowledge is power." By linking knowledge to the concept of power, I always believed that education is one of the most valuable things I can have. That lesson has stayed with me throughout my life and is a big reason why I’m now in graduate school. This leads to my burning question: How can designers create metaphors that resonate across different cultures when metaphors are often shaped by specific cultural experiences?
Design And the Importance of Imaginaries, by Dan Lockton
I find the idea of using qualitative interfaces—like a flag in the wind—to communicate complex information more effectively than digital apps interesting. It highlights the power of direct, sensory experiences. Watching the flag in action is much more engaging and intuitive than just checking an app for wind direction and speed; it helps us connect with our surroundings in a tangible way. One key takeaway for me is that if we want to design for behavioral change, we need to understand how people perceive their environment and the invisible forces at play. This makes it important to create experiences that resonate with what people imagine their world could be like.
A personal example of a qualitative interface happens during my commute to school when I transfer to the A/C train. The trains provide real-time arrival information, which really helps ease my anxiety about where I am. I can rely on this immediate feedback instead of my Apple Maps app, which often loses signal in the tunnels. This brings me to my burning question: How can we measure the effectiveness of qualitative interfaces in changing user behavior or perceptions?
Metaphors & Imaginaries, by Dan Lockton et al
The ‘Thing 1’ and ‘Thing 2’ workshop sparks creativity by connecting abstract concepts—like emotions or something invisible —with relatable, everyday things through metaphors. This pairing makes it easier for people to think about complex ideas in imaginative ways, especially when brainstorming new designs. I found this exercise very interesting and fun to think about. My key takeaway is that metaphors have a unique ability to open up new ways of seeing the world, both in design and with bigger social challenges. They simplify complex ideas, making it easier for people to communicate, understand, and make decisions.
This reminded me of design thinking workshops where participants used sticky notes to quickly brainstorm and connect ideas. I did something similar in a class where we worked with an organization, and it really helped make the process of forming connections a lot easier.
My burning question is: How can designers ensure that the metaphors they create are universally understood across different cultural or social contexts?
Design Justice Chapter 2, by Sasha Costanza-Chock
This chapter sheds light on how design and technology often overlook or push aside the voices of the people most impacted by them—like people of color, women, and those with disabilities. It challenges the idea that certain arguments are used to justify keeping systems of oppression in place, especially when it comes to race, gender, and class. Instead, it calls for us to recognize these communities’ real, lived experiences and how their perspectives are important. My key takeaway is that we need to make sure the voices of marginalized communities are heard and included in design processes so that the systems we create are fair and work for everyone.
A real-life example that comes to mind was when I worked at Michael Kors. I noticed a gap in their shoe designs, which often didn’t accommodate wider feet or diverse body types. While petite and white women found options easily, many marginalized customers, like Hispanic and Black women, struggled to find styles that fit. This reading helps to emphasize the need for brands to embrace diversity in their designs so that everyone feels confident and included. This brings me to my burning question: In what ways can we hold companies accountable for incorporating inclusive practices in their design processes and products?
CLASS FIVE
Storytelling & Narrative, Lecture
Something I found interesting is Claude Lévi-Strauss’ belief that myths are very important to a culture, shaping its identity and values. To understand the essence of a society, we need to go into its foundational stories, as they reveal how people make sense of their world and connect. My key takeaway is that stories hold power to shape how we think and feel, influencing public opinion in politics, art, and entertainment. They can spark important conversations and drive societal change, often inspiring us to see the world differently.
Coca-Cola’s “Share a Coke” campaign reflects the idea of storytelling by putting popular names on their bottles. This simple idea helped people feel closer to each other and encouraged them to share special moments with friends and family over a Coke, turning an ordinary drink into something more meaningful. My burning question is: How can we make sure that storytelling is used responsibly, especially in politics? Stories can inspire us, but they can also be used to manipulate people’s feelings.
Pedro Oliveira on Designing Card Decks, Lecture
What really stood out to me was how versatile card decks can be — they're great for brainstorming, reflection, or even guiding research. I love how they encourage creative thinking playfully without the pressure of strict expectations. It’s such a fun way to unlock new ideas. A big takeaway for me is that these card decks are great for helping designers think through problems more deeply. They provide structure while still allowing for creativity to flow, making them very useful.
As a graphic designer, I often use mind-mapping tools to visually organize my ideas and concepts for projects. When everything is laid out in a web-like structure, it helps me see connections and explore different directions, similar to how these types of cards can spark innovation. This leads to my burning question: Could tools like these card decks help non-designers, such as clients or community members, contribute meaningfully to the design process?
Sherry Turkle, Evocative Objects (Cello & Radio)
Cello: What stood out to me in this essay is how the author talks about their cello as if it’s part of who they are, almost like it holds their emotions. I connected with this a lot because, as a former violin player, I know how an instrument can go beyond being just an object. It becomes a voice for feelings that you can’t always express in words. My key takeaway is that certain objects, like instruments, can form a deep emotional bond and shape how we express ourselves.
I’ve had a similar experience with my violin. Over time, it stopped feeling like an instrument—it became part of me with each practice and performance. The way the author describes their bond with the cello resonates because I’ve felt the same connection with my violin. This makes me wonder: how can designers create objects that let people form such strong emotional and personal ties, like the way musicians connect with their instruments?
Radio: What really stuck with me was how the design of radios in Africa isn’t just about making them work, but about addressing the needs of the communities using them. In places where access to information is limited, the radio becomes a tool for communication and empowerment. My key takeaway is that good design is more than just making something look nice or work well—it’s about understanding the social and cultural context of the people who will use it.
A real-world example that comes to mind is the One Laptop per Child initiative, where they created low-cost laptops specifically for kids in developing countries that were designed to fit their educational needs and challenging environments. This leads to my burning question: How can designers make sure they truly understand the local culture and context when creating products for different parts of the world?
Elizabeth Chin, My Life With Things
I found it interesting how the author sees Banky not just as a comforting blanket but as a treasured part of their personal story and identity. Their description of Banky's design and its significance in their childhood illustrates how our favorite objects can become woven into who we are, almost like pieces of our memories and experiences. This leads me to my takeaway: objects like Banky hold a special place in our hearts, representing our identity and emotional history. While losing such meaningful items can be painful, it can also guide us toward unexpected growth.
A real-life example can be found in the Toy Story series. In the movies, the toys represent the emotional bonds between children and their objects, which fade away as the child grows. This reflects the author's loss of Banky, showing how letting go of childhood memories can be a tough but essential part of growing up. This brings me to my burning question: How do societal expectations around maturity affect our attachment to childhood objects?
CLASS SIX
Paper prototyping: Chapter 1, by Carolyn Snyder
What I found interesting about this reading is that paper prototyping allows teams to quickly test and refine ideas without investing a lot of time or money. It's a simple way to try different designs and make quick changes, making it a great tool for projects. A key takeaway is that paper prototyping encourages users to get involved in the design process, allowing them to share their thoughts and ideas openly, making them feel valued and appreciated.
In motion design, storyboarding for a video reminds me of paper prototyping. When designers sketch out keyframes for a video and share them with clients, it creates a chance for collaboration and feedback. This way, everyone can ensure that the video captures the client’s vision. This leads to my burning question: What are some ways we can make collaboration in design even better for teams that are working remotely or across different locations?
Class seven
Dividing Projects into Phases, Lecture
This lecture showed how breaking a project into smaller phases makes tackling big tasks much easier. What struck me was how each phase builds on the one before it, and it’s not a strict, step-by-step process. You often find yourself jumping back, like revisiting research while you're already prototyping, and that’s just part of how things flow. My key takeaway is that research isn’t something you do once and move on from. You keep going back to it as the project develops, especially as new ideas and feedback come up during the prototyping and testing phases.
This reminds me of chefs working on new recipes, just like my friend from high school. Chefs have others taste their dishes and ask for feedback. They might adjust the seasonings or cooking times based on what they hear. It shows how important it is to revisit your initial ideas and make adjustments. This leads to my burning question: What strategies can we use to stay motivated during the iterative phases of a long-term project?
How to Conduct Literature Reviews, by NYU Librarians
What stood out to me during this lecture was the focus on citation management tools. I love how these tools can make organizing all the papers we come across in our research much easier. The fact that some of them can even take notes or integrate with databases resonated with me. It’s a way to keep everything in order when things can easily get overwhelming. My takeaway is that I really enjoy the idea of using citation management tools to stay on top of my research. They help with organizing sources and allow the connection of different ideas and insights.
Planning a road trip is a lot like doing a literature review. Just as you’d gather maps and pick your destinations to make the journey fun, researchers collect studies and organize their findings to guide their exploration. Each stop along the way represents a piece of information that shapes the overall adventure. My burning question is: How can emerging technologies improve the process of conducting literature reviews?
Understanding Comics Ch 4 & 6, by Scott McCloud
In these chapters, the author shares how time and the interaction between text and images shape our experience of comics. In Chapter 4, he explains how we perceive time through panel transitions and the spaces between them, showing how readers actively engage with the story by filling in these gaps. What I found interesting about this chapter was the emphasis on panel size, particularly how a wider panel can indicate that a significant amount of time has passed. Chapter 6 complements this by showing how text and images can work independently, interdependently, or together, affecting how we understand the story. This is interesting to me because it demonstrates how comics combine visuals and language to create deeper emotional resonance.
A key takeaway from both chapters is that comics blend visual and textual storytelling to create meaning. The author shows how panel structure influences the flow of time and the reader's experience, while the choice of words can shift the mood and deepen the imagery. This interplay between text and visuals explains the importance of thoughtful design in comics, which I find very interesting.
While watching Sense8, I was impressed by the editing and how it creates emotional moments. The way scenes are cut together, paired with the song choices and dialogue, creates a powerful scene that makes you feel nostalgic and deeply connected with the characters. It’s a great example of how editing can elevate storytelling, much like Scott McCloud describes in comics. This leads to my burning question: How do our cultural backgrounds shape the way we understand and connect with visual storytelling, like in comics and films?
Class EIGHT
Research in Design, Lecture
What really stood out to me was the idea that design isn’t just something we create based on research—it can actually be the research. Approaches like speculative and critical design don’t just build on what we know, but they push us to question and rethink our assumptions, opening up fresh perspectives and possibilities. A key insight for me was learning how human-centered design focuses on empathy and flexibility. It's about creating solutions that fit people's needs and evolve through constant feedback.
In therapy, the process is very much like a human-centered approach to design. Therapists work closely with clients to understand their unique experiences, challenges, and goals, just as designers aim to empathize with users. This leads to my burning question: What are some ways designers can make sure that marginalized voices are not only included but also empowered in the design process?
Lab, Field, Showroom Chapter 1, by Zimmerman et al
I found it interesting how the iFloor project was designed to encourage social interactions within libraries, aiming to create a more engaging and communal space for everyone. Growing up, I spent a lot of time in libraries, and I enjoyed the atmosphere. Even though I don’t enjoy reading as much as I’d like to, I appreciate the peacefulness and inspiration that libraries offer. It's so interesting to see how libraries are evolving to meet the needs of modern society, especially as technology often pulls people away from being in a physical space surrounded by books.
A key takeaway from the discussion on constructive design research is that it focuses on creating tangible prototypes as a means of generating knowledge. This approach allows designers to actively explore and shape future possibilities rather than just theorizing. Unlike traditional "research through design," which lacks theoretical guidance, constructive design research values the integration of hands-on practice with theoretical insights, helping designers understand how design, research, and innovation can work together.
Just like the iFloor, the MakerSpace at NYU Tandon is all about mixing hands-on creation with theoretical learning. It offers students a place to experiment with tools and technology, allowing them to bring their ideas to life. In this environment, students engage in iterative processes like designing, prototyping, and refining their projects based on real feedback. This mix between making and learning mirrors the principles of constructive design research, making it a real-life example of how theory and practice can come together.
This leads to my burning question: How can designers ensure that their products not only reflect theoretical concepts but also resonate with users on an emotional and cultural level?
Understanding the Problem: Design Research, Chapter 2
What drew me into this chapter was how clearly and thoroughly it presents the process of goal-directed design research. It breaks down each phase step-by-step, making it easy to see how these parts come together to build a solid foundation for user-centered design. The chapter explains why each stage matters in understanding user needs, motivations, and challenges, making the whole approach feel practical and comprehensive. I’m interested in this reading because this is a process I want to learn and apply myself—it’s the kind of structured approach that would improve my design skills and ability to address real user problems effectively.
One big takeaway for me is the focus on how crucial user research is in the design process, leading to more thoughtful and effective design decisions. This approach doesn’t just create better outcomes, it also saves time and resources by catching potential issues early on, resulting in designs that are both efficient and centered on user needs.
My friend, who runs a nail business, uses social media to grow her platform, and she’s learned to pay attention to what people are watching most. She can adjust her content to match what her audience enjoys by tracking which videos get the most action. It’s almost like she’s doing her own version of design research—she’s figuring out what works by listening to her followers, which helps her make videos that keep people returning. This leads to my burning question: How might a designer navigate situations where user feedback conflicts with a client’s vision or requirements?
Research in Art and Design, by Chris Frayling
I found Frayling’s breakdown of research into, through, and for art and design really eye-opening because it makes creative work feel as structured as traditional research. It’s very refreshing to see creative methods validated as valuable ways of learning and building knowledge.
One key takeaway from Frayling’s essay is that the creative process itself can be a powerful way to do research. Knowing that exploring ideas through art and design can lead to new insights encourages me to continue approaching design with both clear goals and a willingness to explore. It’s an inspiring idea that encourages me to keep pushing boundaries and exploring new possibilities in my current and future design projects.
This example connects directly to UX design. By observing how people interact with a product and gathering their feedback, designers can pinpoint what works well and what doesn’t. Frayling’s idea of research through design helps explain that practical experiments, like usability testing, are key to creating interfaces that are not only effective but also easy to use. This concept is especially relevant for our upcoming UX research project!
This leads to my burning question: How can new technologies like AI and machine learning help us improve our user experience research methods?
Class nine
The Importance of People, Lecture
What I found interesting about this lecture were the various approaches to gaining user feedback through primary research methods. I enjoy how activities like workshops and creative toolkits not only get people involved but also make the whole process of giving feedback fun and engaging. This makes the insights that are gathered not just thorough but also reflective of their needs and experiences. A big takeaway for me is just how important it is to grasp the cultural and social aspects of the community you're designing for. In doing so, you can stay away from throwing out solutions that don't fit. It makes sure that what we design helps the people it's meant for and respects and integrates their real-world context into the design.
Journalists, much like designers using interrogative methods, rely heavily on interviews to uncover facts and gather detailed insights for their stories. My partner, who is a journalist, often shares how crucial these conversations are. The ability to ask the right questions and listen carefully is crucial in both fields for getting meaningful information that drives the narrative forward or leads to insightful designs.
My burning question is: As technology evolves and digital engagement increases, how can traditional primary research methods adapt to continue providing valuable insights without losing the human touch?
Cultural Probes, Lecture
The way cultural probes offer so much creative freedom caught my interest. It's interesting how they let people share their thoughts and feelings in their own space and time. This freedom helps bring out more honest and deep insights. My takeaway from this lecture is that this method opens up opportunities that you may not have seen and probably wouldn’t have captured by asking very direct questions. It's exciting to see how this freer approach encourages both spontaneity and authentic expression, which are important for understanding people's deeper needs and experiences.
While listening to this lecture, it made me think about how these methods could be applied to understand how people use their tote bags. This thought sprang from our previous in-class discussion, and it struck me that using cultural probes could explore the various ways tote bags integrate into daily activities, reflecting personal styles and functional needs. This leads to my burning question: How can designers keep participants engaged over the long durations of cultural probe studies, especially when the initial excitement starts to fade?
The Promise of Empathy: Design, Disability, and Knowing the “Other”, by Daniela K. Rosner
I was interested in this paper’s analysis of traditional empathy practices in design, especially how designers’ intended disability simulations can sometimes do more harm than good. It's eye-opening to see the critique that these efforts, meant to deepen understanding, might instead lead to misunderstandings within this community. My key insight was the shift from designing for users to designing with them. It really highlighted the importance of collaborating directly with disabled people throughout the design process to achieve results that are not only effective but also respectful and inclusive.
This article from Who What Wear highlights brands like 11 Honoré and Good American that design with plus-size individuals, not just for them. They engage with diverse body types to create truly inclusive fashion. This approach brings to life the ideas discussed in the academic article about the shift from designing for people to designing with them, ensuring that the fashion industry meets the real needs and preferences of all consumers. This leads to my burning question: How can designers make sure that their efforts to understand users through empathy exercises don't end up oversimplifying or overlooking the real complexities of their experiences?
Gaver, Dunne, and Pacenti, Cultural Probes
I was drawn to how the cultural probes brought out such deep and personal stories from the elderly communities. It’s amazing to see how these creatively designed tools helped spark meaningful conversations. This resonates deeply with me, especially since I find designing for this community fulfilling. My key takeaway is that engaging directly with participants increases their involvement and improves the feedback that’s gathered, which is important for projects that depend on user insights.
Interactive public art installations remind me of how the cultural probes in the article engaged the elderly. When a community comes together to interact with an art piece, like adding to it or changing it, it's not just about the art itself. It's about people seeing their individual touches make a collective impact, much like how those design probes captured the unique stories and perspectives of the community members. This leads to my burning question: As technology keeps changing so quickly, how can designers make sure that the tools they use in cultural probes stay interesting and relevant for everyone, especially as new digital ways to engage pop up?
Universal Methods of Design, by Hanington & Martin
This reading provided an insightful overview of various research methods for understanding users and their needs. I appreciated the detailed breakdown of each method. My primary takeaway is the potential of these methods to enhance and guide the design of my upcoming UX research project. I'm particularly drawn to utilizing love letters and break-up letters, diaries, and interviews.
Apple Music does a great job of personalizing the experience for its users by understanding what their users like and listen to. I've noticed how the playlists and recommendations are tailored just for me, reflecting my musical tastes and moods. This personalized touch makes each listening session uniquely enjoyable. This leads to my burning question is: How can designers ensure that the deeply personal data gathered from such intimate research methods is used ethically and responsibly, especially in an era where data privacy concerns are escalating?
CLASS TEN
Prototyping, Lecture
What caught my attention in this lecture was how prototyping isn’t just about making a rough version of something, it’s a way of learning and conducting research. Thinking of prototypes as a tool to discover what people need rather than just testing out ideas makes the whole process feel more like a conversation with the user. Each prototype can reveal something new and unexpected, which is exciting because it means we’re always learning and adapting rather than just pushing a finished product. One big takeaway for me is that design and prototyping aren’t just one-and-done steps, they’re ongoing processes that build on curiosity and research. By constantly questioning and tweaking our ideas through different prototypes, we’re able to create solutions that actually make sense for real people.
A great example of this approach is how app developers put out beta versions for people to try. They gather feedback from real users, see what works or doesn’t, and then make changes based on those insights. They are using each version as a chance to learn, which lines up perfectly with the idea from the lecture about prototypes. This leads to my burning question: How do you know when to stop tweaking and just go with a design, even if there are still a few things you’re unsure about?
Brainstorming & Ideation Activity (slides), Lecture
I found it interesting that brainstorming doesn’t just have to be a chaotic jumble of ideas. Techniques like the SCAMPER method or the 10+10 exercise bring a real structure to creative thinking. I liked how these methods help you stretch an idea in every possible direction, like a workout for creativity. My takeaway is that creativity sometimes just needs a little push from the right exercise or prompt. For example, SCAMPER helps you break a concept down and look at it from every angle, showing me that even the wildest ideas can actually lead to something polished and practical.
In undergrad, we did this exercise called "Idea Avalanche." The idea was to pick a random topic and just throw out as many ideas as possible in five minutes with no judgment and no second-guessing. After that, we’d sort through them, combine similar ones, or tweak them a bit to see if anything had real potential. It was messy and chaotic, but it showed me that sometimes the best ideas come when you just let go and don’t overthink it. This leads to my burning question: Is there value in revisiting discarded ideas after initial brainstorming, and how do you know when it’s worth another look?
Designing for Interaction I, by Dan Saffer
What stuck with me was how the author described interaction design as this “stew of disciplines.” It’s a mix of human factors, industrial design, user experience, and more, which made me realize just how many skills go into it. Interaction design isn’t just about one thing, it pulls together all these areas to shape our everyday experiences with technology, often in ways we don’t even notice. A big insight for me is that good interaction design has to be adaptable. As new tech and changing user expectations come along, design has to keep evolving with them. It’s a reminder of how important it is to stay flexible in design thinking, especially when we’re dealing with technology that’s constantly moving forward.
The idea of designing for context reminds me of how museum exhibits are set up. In a museum, everything from the layout and lighting to digital displays has to guide visitors in just the right way. Each part is designed to fit that specific space and experience, just like how interaction design needs to adapt to different settings and needs. This leads to my burning question: When there are so many things to juggle—like aesthetics, functionality, and accessibility—how do interaction designers figure out what to focus on first, especially when they don’t have unlimited resources?
What do Prototypes Prototype?, by Houde & Hill
I was drawn to the distinction between role, look and feel, and implementation prototypes. It shows that prototypes don’t always have to be polished or fully functional to be valuable in the design process. By focusing on specific design questions, prototypes can be light yet powerful tools for exploring ideas and gathering great feedback. My key takeaway is knowing it’s okay to create “throwaway” prototypes for specific questions. It allows for more experimentation without pressure and is a liberating mindset. This flexibility encourages rapid iteration, helping teams quickly refine ideas and adapt based on early feedback.
In my high school finance class, we got to create our own mock businesses and see what it takes to make them work financially. We started by figuring out the basics—our business idea, target customers, and a rough budget—and then made simple prototypes, like a storefront or website, to get a feel for how customers might interact. This hands-on project gave me insight into the topics discussed in the article. This leads to my burning question: In fast-paced projects where there isn’t time to build multiple prototypes, how can designers prioritize which design question (role, look and feel, or implementation) to focus on first?
Class Eleven
Mike Pell, Director of Microsoft Garage, on Envisioneering & Prototyping, Lecture
I found Mike Pell's concept of "envisioneering" very interesting. It's a creative mix of envisioning and engineering that really demonstrates how we can use our imaginations to push ideas into real-world solutions. The reminder that "people are always the key" resonated with me. It highlights the importance of designing technologies that enhance, rather than complicate, human experiences and how technology should serve people, not vice versa.
Instead of connecting to another real-world example, I want to take a moment to appreciate the tips and strategies that Pell shared. His practical insights into using simple tools for complex envisioning tasks are extremely valuable for anyone in creative fields. This leads to my burning question: Mike Pell stresses the importance of keeping people at the heart of technology development. How can organizations make sure their tech innovations help bridge gaps in society rather than widen them?
Storytelling & Showcasing, (Slides), Lecture
I really enjoyed the professor's guidance on synthesizing our research and information into a cohesive final product and presentation. It showed how structured analysis can lead to clear and impactful communication. My key takeaway is the tip about incorporating the "W's" (who, what, where, when, why) into our problem statements. It’s such a practical approach, ensuring we don’t overlook any crucial aspect of the problem we're tackling.
Last year, while attending graduate information sessions, I saw some UX design research presentations that really set the bar high. The students presented their findings so clearly, and it inspired me to dive deeper into UX research myself. This leads to my burning question: After presenting our UX designs, how can we effectively integrate audience feedback into our design process to enhance our future projects?
Personas, by Dam & Siang
I was interested in how engaging personas bring the user to life in the design process. It’s not just about statistics and data; it's about understanding people's emotions and stories, which makes the whole approach feel much more connected and real. Learning about the 10-step process for creating engaging personas is my key takeaway. This method is incredibly useful in ensuring our designs continuously resonate with our users’ evolving needs. I am excited to deepen my understanding of the processes involved in user experience research and design, and everything that I learned this week in lectures was informative and insightful.
Although I don't have a specific real-life example to share, I believe that using user personas could benefit how a retail website is redesigned. They would understand the different shopping styles and needs of their customers, like those looking for the best deals, those who like luxury items, or people just browsing for the perfect gift. By designing the website to cater specifically to these preferences, they would make shopping a more enjoyable experience for everyone, and they’d likely see a boost in sales. This leads to my burning question: As user behaviors and technologies continue to evolve rapidly, how can we make sure that the personas we create stay relevant and effective over time?
Methods to Help You Define, Synthesise And Make Sense in Your Research
I found the method of using 'How Might We' questions helpful. It's a great way to frame problems that move you from a broad understanding to actionable ideas, effectively guiding the transition into the ideation phase. This approach was also discussed in the showcasing and storytelling lecture, so hearing about it and reading about it here reinforces its importance and effectiveness in the design thinking process. My key takeaway is the affinity diagram method. We used this during the first two phases of our UX design research project, and I'm amazed by how it helped me make sense of all my data. This method has been important for ensuring that my design decisions are shaped by what users need and want.
Working with non-profit organizations often involves understanding the communities they aim to serve. For instance, during my internship at the Newark Museum of Art, I saw firsthand how dedicated the museum is to its community. They continuously seek to design programs and exhibits that resonate with and reflect the cultural backgrounds and interests of local residents. This leads to my burning question: What challenges might teams face when trying to frame their Point Of View (POV) statements, and what are some practical ways to tackle these issues effectively?