Design Thinking with Tim Brown

Tim Brown takes us on a journey through history, starting with Brunel‘s systematic large scale designs which include “the feel” of a railway ride from London to New York. Here’s a key note in the life and work of Isambard Brunel, son of Marc Brunel (linked wikipedia above)

Work on the Clifton bridge started in 1831, but was suspended due to the Queen Square riots caused by the arrival of Sir Charles Wetherell in Clifton. The riots drove away investors, leaving no money for the project, and construction ceased.Brunel did not live to see the bridge finished, although his colleagues and admirers at the Institution of Civil Engineers felt it would be a fitting memorial, and started to raise new funds and to amend the design. Work recommenced in 1862 and was completed in 1864, five years after Brunel’s death. The Clifton Suspension Bridge still stands, with approximately 4 million cars crossing the River Avon every year.

Mr. Brown then proceeded to share his own career and how it started out with small designs for a wood working machine, then later a fax machine. What he was concerned with and what he learned is that small designs would only provide incremental value to society. The method he refers to as his current prime motivator is Design Thinking. This method of design focuses on human need while meeting the other fundamental design forces of economics (viability in his talk) and feasibility (if the design is possible). The idea is to take a larger view of the problems being faced and to integrate and iterate on a solution sensitive to local culture.

  • We need to understand the culture and context before blindly coming up with a solution. I’m reminded of the scientific method, but instead of generating a hypothesis first, the solution begins by learning about human priorities and local way of life.
  • We are then best aided by rapid prototype design and testing, using measured data to help drive the design decisions forward.
  • Finally instead of designing towards and end goal of consumption, we are guided to see the possibility of participation (wide spread social collaborative design). Tim captures this concept best in this statement: “The shift from a passive relationship between consumer and producer, to the active engagement of everyone in experiences that are meaningful, productive and profitable”

Tim wraps up the talk asking for community feedback on the direction of design by using twitter to the hashtag #CBDQ (please amend that to any retweets or shares to aid in discovery/search).

He suspects that great value can be realized when domain experts and individuals are free to design their own systems and solutions. I have suspected this trend in the field of programming. The high cost of software is driven by the communication of expert knowledge in bite sized pieces to adept machine language translators (developers). Then the careful transition of conceptual states must be made from abstract to concrete (functioning end to end software libraries, or applications are concrete in my definition here). I believe developers (myself included) should endeavor to build higher level tools that others can leverage for their own needs.

By smoothly introducing an ongoing conscious awareness of what we want our efforts to yield, we can mold the raw results of our labors into a better systematic solution.

  • http://shanacarp.com/essays ShanaC

    He's right about it not being about a design. Difficult workspace to be in.

    I'm also slightly annoyed that the Bauhaus as a school of thought didn't come up. You can't escape the idea of merging the spirit, the mind, and the body in a simple object without encountering the Bauhaus. It's an equally radical view, since Tom view could be seen as elitist in a totally different view: why are a bunch of designers running around participating to take others ideas and working on them- or teaching others how to think. Gropius is radical that design is physical craft skills- that there may be different kinds of design craft (nurse-craft) and innate intelligence for all these kinds of crafts for everyone.

    … Although we may achieve an awareness of the infinite we can give form to space only with finite means. We become aware of space through our undivided Ego, through the simultaneous activity of soul, mind and body. A like concentration of all our forces is necessary to give it form. Through his intuition, through his metaphysical powers, man discovers the immaterial space of inward vision and inspiration. This conception of space demands realization in the material world, a realization which is accomplished by the brain and the hands.
    The brain conceives of mathematical space in terms of numbers and dimensions. . . . The hand masters matter through the crafts, and with the help of tools and machinery.
    Conception and visualization are always simultaneous. Only the individual's capacity to feel, to know and to execute varies in degree and in speed. True creative work can be done only by the man
    whose knowledge and mastery of the physical laws of statics, dynamics, optics, acoustics equip him to give life and shape to his inner vision. In a work of art the laws of the physical world, the intellectual
    world and the world of the spirit function and are expressed simultaneously.

    _Walter Gropius

    (Never avoid him, he rewrote the book on design during one of the most radical periods of time, the Weinmar)

  • http://www.victusspiritus.com/ Mark Essel

    Incredibly well thought out quote. Added reading Walter Gropius to my email/tasks list, thanks for pointing me to him.

  • http://shanacarp.com/essays ShanaC

    He's right about it not being about a design. Difficult workspace to be in.

    I'm also slightly annoyed that the Bauhaus as a school of thought didn't come up. You can't escape the idea of merging the spirit, the mind, and the body in a simple object without encountering the Bauhaus. It's an equally radical view, since Tom view could be seen as elitist in a totally different view: why are a bunch of designers running around participating to take others ideas and working on them- or teaching others how to think. Gropius is radical that design is physical craft skills- that there may be different kinds of design craft (nurse-craft) and innate intelligence for all these kinds of crafts for everyone.

    … Although we may achieve an awareness of the infinite we can give form to space only with finite means. We become aware of space through our undivided Ego, through the simultaneous activity of soul, mind and body. A like concentration of all our forces is necessary to give it form. Through his intuition, through his metaphysical powers, man discovers the immaterial space of inward vision and inspiration. This conception of space demands realization in the material world, a realization which is accomplished by the brain and the hands.
    The brain conceives of mathematical space in terms of numbers and dimensions. . . . The hand masters matter through the crafts, and with the help of tools and machinery.
    Conception and visualization are always simultaneous. Only the individual's capacity to feel, to know and to execute varies in degree and in speed. True creative work can be done only by the man
    whose knowledge and mastery of the physical laws of statics, dynamics, optics, acoustics equip him to give life and shape to his inner vision. In a work of art the laws of the physical world, the intellectual
    world and the world of the spirit function and are expressed simultaneously.

    _Walter Gropius

    (Never avoid him, he rewrote the book on design during one of the most radical periods of time, the Weinmar)

  • http://www.victusspiritus.com/ Mark Essel

    Incredibly well thought out quote. Added reading Walter Gropius to my email/tasks list, thanks for pointing me to him.

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