My Design Notes

Aarni's personal notes on design

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      25 Feb 2012

      Seven ways to start solving a design problem

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      You have a specification or a brief for a design problem. You have done research, interviewed people, watched how they behave, and so on. The next question is how to actually start solving the design problem based on what you've learned. I’ve devised a list of seven possible ways to do it. The list is far from complete; it reflects my own experiences in tackling design problems.

      Numbers

      1. Use past experience

      The difference between a pro and an amateur is that a pro has done something over and over again. If you have already solved a similar problem dozens or hundreds of times previously you can quickly come up with a solution. Even if the problem is customary I think that a good designer is willing to learn and improve his/her performance every time.

      2. Start from the top

      Identify one to three of the most important, defining choices that you'll have to make at first, before moving on. If you are designing a house, for example, the orientation, site layout and overall form of the building could be your first choices. After you've decided on those you can move to a more detailed level. In practice you'll always have to come back to the first choices since problem solving is an iterative process.

      3. Break things down into a hierarchy of requirements

      I've read some studies from the 1960s that outlined a rational principle of design. The idea was that every requirement in the design specification has a high-level solution. Each solution has certain requirements that act as a specification for next level solution. Going down this requirement-solution path as far as necessary finally defines the solution. This method is especially suitable for software or process design, but attempts to use it in building design have not been promising.

      4. Use a system or framework

      Having too many choices can be inefficient. Many architects, engineers, artists and musicians have been able to rationalize their work by creating a system or framework that helps in devising solutions. A clever system allows enough variation while securing compatibility of its elements. 

      In the late 1980s I was involved in designing villages that were to be erected quickly for a large number of immigrants. We came up with a housing system that consisted of pre-designed apartments. The computerized system allowed us to design a small city in a matter of days. I think we ended up making 17 of them in a few months.

      5. Use an analog

      Sometimes looking outside your own industry helps. One of my consulting clients wanted to improve the customer experience and efficiency of their engineering services. In a workshop I gave them a task: "What would your business look like if you were like a fast food company or a car dealership?" Moving away from the traditional way of thinking about their business they actually generated some interesting and realizable ideas.

      6. Come up with a big idea

      Many great design solutions have one overarching idea. An awesome idea can rightfully challenge traditional expectations and requirement definitions. In a design process a masterly idea can render exceptional value.

      The challenge with starting with one prevailing idea is that you tend to fall in love with it and struggle to see beyond it. Furthermore, if it is not realized properly it can lead to poor results. The city of Helsinki planned a new office district in the 1970s. The idea was to create a pedestrian friendly city where cars would drive under elevated pedestrian platforms. However, when the area was built all builders did not follow suit. It led to an environment where pedestrians have to descend to the street level, among car traffic, to get from one point to another.

      7. Use serendipity

      Finally, there is always the way to just start doing something until it clicks. Try unexpected approaches, test quirky solutions quickly, start from the "wrong" end of the solution, and so on. This can sometimes work, but it can also lead to a deadlock; not getting anything done.

      These are methods that I've used or encountered. I'd very much like to hear your experiences. 

      Photo source: iStockphoto

       

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      24 Jun 2011

      Rome - an enchanting city with a challenge

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      I’ve been to Rome many times, and I’m always enchanted, like last week. Some critics say that Rome is an open-air museum, but that’s not fair. Sure, there are lots of tourists around, but that has been the case with Rome for over 2000 years.

      What makes Rome so enchanting is its humanity. The scale of the streets and buildings is human; people work and live there, and visitors feel welcome. The structure of the old center of Rome is organic, as you can clearly see on the Nolli map from 1748.

      Some parts of Rome are a bit worn-out, and would need investments, like the metro. It is interesting to see how modern structures seem to be much more prone to wear and tear than the ancient ones. There are around 100.000 tourists visiting Rome every day, and the number is increasing. Tourism has a negative effect on the built and natural environment, but surely a positive effect on economics. I hope that Romans know how to balance the equation so that we can visit Rome in the future - without ruining it.

      Nolli

      Part of the Nolli Map from 1748.

      Photo: Aarni Heiskanen.

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      16 Apr 2011

      Why we build exuberantly

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      Deyan Sudjic was trained as an architect, but became a critic, curator, and writer. He is now director of the Design Museum London. In this interview he talks, among other things, about why people really build things.

      While writing his book The Edifice Complex, he discovered that the reasons for building tall have not really changed. People build to make a mark, show who's powerful, to create a sense of national identity, and to create reflections of ego. What he doesn't mention are the business drivers for exuberant projects.

      Sudjic also claims, that this is a landmark moment for architecture, design, and culture. A generation of architects is used to insane growth, development and huge projects. Their successors will have to understand how to survive in a very different climate, he envisions.

      Video credit: Studio Banana TV

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      1 Apr 2011

      MirĂ³ at EMMA

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      EMMA - Espoo Museum of Modern Art is exhibiting works of the Catalonian artist Joan Miró (1893-1983).

      Many know Miró from his signature graphic style. But Miró was versatile; he was a painter, a sculptor, a ceramic and textile artist, and so on. This was the first time that I had a chance to see so many of his sculpture in one place. You can say that his works are surrealistic and humorous, but he had definitely an eye for form and space. He said that there is no non-figurative or abstract art. Every line and form has a meaning.

      The exhibition has an interesting extension featuring works from seven Finnish artist who seem to have been inspired by Miró. A friend of mine, Kari Huhtamo is one of them.

      EMMA's building used to be a printing press in the 1960s. It was altered to house a cultural center and was opened in 2006. EMMA is the largest museum in Finland.

      Here are some snapshots from the exhibition.

      (download)
      Click here to download:
      miro-at-emma-hslHcDiIyjsHABCIotJp.zip (1.75 MB)
      Photos: Aarni Heiskanen, with permission of EMMA

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      19 Sep 2010

      Modern architecture guide for travelers

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      Are you interested in modern architecture but find it difficult to locate the projects? MIMOA is a guide that might help you. If you are interested in contributing to the guide, that's also possible. Quoting from the MIMOA site:

      "MIMOA is an online architecture guide. It is the best source of information for your city trip with all Modern Architecture in one view. MIMOA shows Modern Architecture on a map with the address and all additional information you need to actually find and visit interiors, parks, public places, buildings and bridges. 

      MIMOA is specially designed to take the whole database with you while traveling. You can select projects to create your own personal architecture guide and even browse projects and locations from different mobile devices.

      MIMOA is a user generated website. This means all information is published by the visitors. It is a great way to help others to find the projects you've visited or build. The growing database is free and open for everyone to contribute: publish your projects, posts comments and ratings, define your personal favorites and keep track of the projects you’ve visited. All this personal information, reviews and opinions, define the current architectural trends.

      MIMOA is intended for anyone interested in Modern Architecture, design, culture, photography, cities, travelling, visiting buildings, knowing how to get there, whether the project is public and what the opening hours are."

      http://www.mimoa.eu/

      Mimoa

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      3 Sep 2010

      Where are all the people in architectural photos?

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      Professional architectural photographs have one thing in common: they almost never have people in them. Browse any architectural magazine and you'll notice this, rather weird thing. Why is that?

      I've come up with some explanations for the lack of humans:

      • Architectural photographers are expected to present the architecture at its best. People are not in the leading role this time.
      • Architectural photos have long exposure times. People should not move a bit unless you want to use fuzziness a special effect.
      • It takes time to come up with a good composition. People should be at the right place at the right time, and that's not easy.
      • People steal the attention. Look at any picture with an individual in a built environment. Do you admire the architecture first?
      • Are passer by ready to be shown in published photos? You could use models, but it might look a bit fake.

      There are, of course, reasons why people should definitely be in these photos:

      • Architecture is for people, not the other way round
      • A person is a good yardstick, making the dimensions of the building comprehensible
      • People demonstrate how the building or environment actually works

      It is interesting to see that computer-generated 3D visualizations of buildings often include people. It is much easier to use virtual persons since you can place whoever you want, wherever you want. In real life that's more challenging.

      Istock_000001522741small
      Photo: iStockphoto

       

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      16 Aug 2010

      Wonderful scenes from old Europe

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      Here are awesome photos the I've picked from the Flickr collection of the Swedish National Heritage Board. They are from 1880s onwards and present scenes from Europe.

      More information on the photos at http://www.flickr.com/photos/swedish_heritage_board/.>

      (download)
      Click here to download:
      wonderful-scenes-from-old-europe-IhCawCisskyAqdkIjFHn.zip (3.61 MB)

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      10 Aug 2010

      Architect Santiago Calatrava talks

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      This is an interview of the Spanish architect Santiago Calatrava. In this short interview he talks about many topical and historical issues around architecture, economy, and humanity.

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      5 Aug 2010

      What is fake in design and does it matter?

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      Clients sometimes have awkward requests. An architect told me a story about his one family house project. The client was as lady who wanted her interior to have a certain rural look. She definitely had to have wooden roof beams on her living room ceiling. The only problem was that the ceiling was already made and the structural elements were hidden.

      The architect was not too orthodox and agreed to have wooden beams made and attached to the ceiling. Everything was all right until the lady wanted to open one of the large windows for cleaning. They opened inwards and the ends of the beams were blocking them since they were lower than the upper frame of the windows. But the resourceful architect had a solution. He had the ends of the beams cut and hinges installed to the stubs. Now the ends of the beams could be folded aside for window cleaning!

      Should designers refrain from fake solutions? In the history of design fakery has been almost prevalent. Cheaper wood has been painted to look like marble or more expensive wood. Traditional Nordic wooden houses were painted with red ochre to mimic brick. The tradition lives on: now you can have the ceiling of Lance Armstrong's kitchen easily with faux wood beams made of  foam, resin, or dense polyurethane.

      During the modernistic period architects and designers were strongly against any fakery. Even if the iconic Le Corbusier used brick walls that were made to look like concrete. The so-called postmodernism changed the scene. Fake became fun.

      Today the question of real materials and truthful constructions is complex. It is really hard –even for professionals– to define what is real or fake. Perhaps what feels right is more important than what looks real.

      Wall

      Solid travertine blocks? No, actually a thin travertine cladding, quite common in modern architecture.

      Photo: Aarni Heiskanen

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      2 Aug 2010

      Why designers develop a signature style?

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      Designers most often try to develop a distinctive signature style for their work.  A style becomes a part of the designer’s brand. Here are some thoughts about the pros and cons of having a highly personal style:

      Clients

      Clients have a tendency to choose designers whose work shows consistency. Clients want a solution that is in line with their goals and values. A designer’s style reduces client’s risk of getting totally unexpected results.

      Consumers

      A small number of consumers are actually interested in designers or their styles. There are some names in apparel, furniture, and appliances that the most avid buyers recognize. In most cases, however, consumers are interested in things that fit their own style and needs.

      Competitions

      Design competitions with anonymous entries are perfect demonstrations of the value of a signature style. The judges can recognize the designer and link the entry with his/her previous work. Other, less known designers are judged by the quality of their entry alone. 

      Design business

      A signature style is a kind of a language. It is a codification of ideas and meanings. As a code it can be taught and systematically applied. That is why many great designers have a team that, using the language, can become very productive.

      The famous Finnish architect Alvar Aalto developed a distinctive style in the 1950s and 60s. All who worked for him over the years learned to use the style, and continued to use it, even after the master’s death. The styling was especially noticeable in details and the use of wood.

      Not all designers want to limit their expression to a certain style. Finnish-born American architect Eero Saarinen was like that. Some say that the key to his popularity was in his complete lack of interest in developing a signature style.  Saarinen approached each project with open eyes, respecting the requirements and needs of the client and the site of the building. Other architects, academics, and critics dismissed him as eclectic and unprincipled (see the Boston Globe article).

      I think that a personal style is mostly a positive thing unless it starts to dominate how a designer approaches his/her work. A style should not be static or limiting but an enriching factor in design.

      Dulles

      Dulles Airport, architect Eero Saarinen

      Photo:  XYZ+T

       

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  • My Design Notes

    I'm the founder and CEO of AE Partners. Here are my personal notes on issues related to design.

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