Professional Documents
Culture Documents
Beautiful Users Ellen Lupton 2014 PDF
Beautiful Users Ellen Lupton 2014 PDF
Beautiful Users Ellen Lupton 2014 PDF
Ellen Lupton
with contributions by
Thomas Carpentier
and Tiffany Lambert
Published by 6 foreword
contents
Princeton Architectural Press
37 East Seventh Street Caroline Baumann
New York, New York 10003
Visit our website at www.papress.com.
In association with
7 acknowledgments
Smithsonian Design Museum
case studies
Editor: Megan Carey
Designer: Ellen Lupton 46 handle
Typefaces: Galaxie Polaris and Galaxie Copernicus, designed by
Chester Jenkins, 2004–13 80 mobility
Special thanks to: Meredith Baber, Sara Bader, Nicola Bednarek
Brower, Janet Behning, Carina Cha, Andrea Chlad, Barbara Darko,
Benjamin English, Russell Fernandez, Will Foster, Jan Haux, Mia 94 interface
Johnson, Diane Levinson, Jennifer Lippert, Katharine Myers, Jaime
Beautiful Users is made possible by major Nelson, Jay Sacher, Rob Shaeffer, Sara Stemen, Marielle Suba,
7
Cooper Hewitt, Smithsonian Design Museum explores the world Beautiful Users is dedicated to Bill Antonia Moser, Kelly Mullaney, Jennifer
foreword
acknowledgments
of useful things. From textiles and wall coverings to architectural Moggridge (1943–2012), a pioneer of Northrop, Jessica Nunez, Matthew
drawings and digital devices, nearly every object housed in our human-centered design. As director of O’Connor, Caroline Payson, James Reyes,
astonishing collections was created with a function—and a user— Cooper Hewitt, Smithsonian Design David Rios, Wendy Rogers, Katie Shelly,
in mind. In the mid-twentieth century, designers began applying Museum, 2010–12, Moggridge inspired Larry Silver, Cindy Trope, Micah Walter,
“human factors” (also called ergonomics) to products, services, us to reinvent our own design processes. Mathew Weaver, and Paula Zamora.
and interfaces in order to address the needs of human users. We will always remember this friend and Diller Scofidio + Renfro designed
Beautiful Users explores the ethos of “designing for people,” a thinker for his warmth, humanity, and the exhibition; special thanks to Ricardo
phrase devised by pioneering industrial designer Henry Dreyfuss inventive intellect. Scofidio, Andreas Buettner, Imani Day,
after World War II. Home to the Dreyfuss Archive, Cooper Hewitt Cooper Hewitt’s new director, Caroline and Tyler Polich. Eddie Opara’s team
organized the first monographic exhibition of his career in 1997. Baumann, has galvanized the museum’s at Pentagram designed the exhibition
Beautiful Users presents a selection of Dreyfuss’s projects within staff and board around a reinvigorated, graphics; Kimberly Walker offered
the broader evolution of user-centered design, a field that now audience-centered vision in our renovated guidance on the typographic format of
encompasses such frameworks as universal design, experience facilities. Cara McCarty, Cooper Hewitt’s this book. Local Projects designed and
design, interaction design, and open-source design. curatorial director and an early advocate produced innovative digital experiences
Cooper Hewitt seeks to understand the diverse processes for universal design, has been a guiding for our visitors. We are grateful to our
involved in planning and making useful things. Design thinking light for Beautiful Users, supporting the colleagues at Princeton Architectural Press
is a methodology that begins with an open-ended exploration idea from its earliest inception. Dozens of for their careful attention to the craft of
of users’ needs and continues through an iterative process of professionals at Cooper Hewitt, including publishing; special thanks to Megan Carey,
ideation, sketching, and modeling. To illuminate the richness of curators, conservators, editors, digital Paul Wagner, and Kevin Lippert. Tiffany
the design process, this book represents drawings and prototypes media producers, educators, registrars, Lambert, a rising voice in design studies,
as well as finished products, including historic and contemporary development staff, and more, made this contributed vital content and endless
material from the museum’s collections. book and exhibition possible. Special managerial energy to this project.
Beautiful Users is the first in a series of exhibitions taking place thanks to Cooper Hewitt staff, including My mother, Mary Jane Lupton, is
in our first-floor Design Process galleries. These exhibitions aim Julie Barnes, Laurie Bohlk, Helynsia the most beautiful user I know. By refusing
to introduce the public to the people and methods that define Brown, Seb Chan, Michelle Cheng, to hide who she is, she taught me that
design as an essential human activity. The galleries offer visitors a Kimberly Cisneros, Sarah Coffin, Lucy disability is just a difference.
range of experiences, from narrative displays about historical and Commoner, Caitlin Condell, Aaron Straup
contemporary design to hands-on making, doing, and learning Cope, Gail Davidson, Deborah Fitzgerald, Ellen Lupton, Senior Curator of
activities. Beautiful Users is made possible by major support from Sarah Freeman, Vasso Giannopoulos, Contemporary Design
the Adobe Foundation. Additional funding is provided by Amita Jocelyn Groom, Annie Hall, Kimberly cooper hewitt
and Purnendu Chatterjee, the August Heckscher Exhibition Fund, Hawkins, Kevin Hervas, Pamela Horn, smithsonian design museum
the Ehrenkranz Fund, the Bill Moggridge Memorial Fund, the Halima Johnson, Steve Langehough,
Richard H. Driehaus Foundation, Deborah Buck, May and Samuel
Rudin Family Foundation, Inc., and IDEO.
essay
When designers create products, spaces, or media,
The evolution of the telephone in the issue, designed for durability and function
mid-twentieth century tells a story about rather than consumer appeal. In order to
designers’ changing view of users. In the expand its business, AT&T encouraged
1930s, Bell Labs asked Henry Dreyfuss users to install multiple extensions or to
to create a new telephone set, to be used enhance their service for an added charge.
across AT&T’s vast phone system. Dreyfuss The decision in 1953 to produce phones
was a young man and an emerging voice in in a range of colors transformed the
the field of industrial design, a profession telephone from a basic technology into an
that was taking flight alongside mass alluring consumer product. Ad campaigns
marketing and mass advertising in the encouraged women to see the phone as an
burgeoning consumer economy. Designers element of home decoration.7
including Dreyfuss, Raymond Loewy, and Alvin R. Tilley, an engineer in the Dreyfuss What if new phone models could
Walter Dorwin Teague were reinventing office, exclaimed that “a design that is target specific demographic groups? In
the point of contact between people and neither concave nor convex and without the 1950s, advertisers and manufacturers
equipment, often by unifying mechanical sex is the darnedest thing!”4 The new discovered in teenagers a lucrative market
parts inside smooth, sculptural shells.2 handset was smaller, lighter, and less likely for consumer goods; and in 1959, the
Dreyfuss and Bell Labs unveiled their to turn in the hand, and it stayed in place Dreyfuss office introduced a glamorous
Model 302 telephone in 1937.3 The object’s when cradled against the shoulder. The new icon of phone design: the Princess.
curving sidewalls swoop upward from a designers derived this homelier but more Its seductively anthropomorphic name
square base to cradle the graceful arc of the functional object from human habits and mirrored its youthful market. With its small
handset. Indebted to Jean Heiberg’s 1931 anatomy rather than from an abstract play footprint, pretty colors, and light-up dial,
phone for the Swedish company Ericsson, of angles and curves. the Princess appealed to young women as
the Model 302 is a functional artifact of The phone’s rotary dial is a complex a bedside accessory. The design team had
extraordinary beauty. point of human contact. When first observed users lying in bed with the base
Elegant and useful as the Model 302 introduced, the Model 500 took longer to of the Model 500 resting heavily on their
may have been, it had usability problems. dial than the older model. John E. Karlin, torso; the Princess’s lighter, more portable
Model 302 Telephone, 1937. Designed by The triangular profile of the handset an industrial psychologist at Bell Labs, design responded to this unanticipated use.
Henry Dreyfuss (American, 1904–72) for Bell moved the numbers and letters from inside
caused the device to turn when cradled By endowing the Princess with a
Telephone Company (USA). Manufactured by
Western Electric Manufacturing Company against the shoulder—the design didn’t the finger holes to outside. The change standard Model G handset, the Dreyfuss
(USA). Cast metal, enamel-coated steel, paper, prevented the graphics from rubbing off
account for people’s intuitive desire to team introduced a dramatically new
rubber-sheathed cord, electronic components.
Collection Cooper Hewitt, Smithsonian Design talk hands-free. Dreyfuss addressed this over time and kept them visible while the product while minimizing manufacturing
Museum, museum purchase from the Decorative dial turned. Karlin also placed a white dot
issue with the Model 500, introduced in costs. Dreyfuss called the existing handset
Arts Association Acquisition Fund, 1994-73-2.
Photography: Hiro Ihara. 1949. To create the next-generation device, inside each finger hole to give users a visual a “survival form”—a familiar element
Dreyfuss’s design team and the engineers target.5 According to Dreyfuss, these simple incorporated into an updated product. The
Model 500 Telephone, 1953 (introduced in
1949). Designed by Henry Dreyfuss (American, at Bell Labs started by working on the “aiming dots” reduced dialing time by designers moved the numbers and letters
1904–72), Henry Dreyfuss & Associates (USA) seven-tenths of a second.6
handset. They studied measurements back inside the finger holes, deeming
for Bell Laboratories (USA). Manufactured by
Western Electric Manufacturing Company of over two thousand human faces to Bell Labs manufactured phones for efficiency less important than saving space.
(USA). Molded plastic, metal, rubber, electronic AT&T, a monopoly that delivered phone
determine the average space between the The light weight proved to be a liability,
components. Collection Cooper Hewitt,
Smithsonian Design Museum, 2009-50-1-a/c. mouth and the ear. They gave the Model service across the U.S. When a subscriber however, as users commonly pulled the
Photography: Ellen McDermott. signed up for phone service, the telephone
G handset a flattened, squared-off profile, phone off its table by the cord; later designs
fondly calling it the “lumpy rectangle.” came with it, and the devices were standard feature a weighted base.
Designing for People, 1955. Authored by Henry
24 beautiful users
This trilogy of Dreyfuss phones—from The Measure of Man, which enabled Section to diagram the ideal human body. statistics. Nino Repetto’s whimsical yet
the classic Model 302 to the research- designers to create products that fit average As design historian Nader Vossoughian informative illustrations depict people
driven Model 500 to the glamorous bodies with a greater degree of comfort, has pointed out, Neufert later adjusted engaged in a range of social situations,
Princess—shows the designer’s shift in built on the international standards his data on human dimensions to from passing each other in a hallway
focus from shaping the sculptural integrity movement that took shape in the 1910s. reflect a standardized unit he called the to flirting in a cocktail lounge. This
of the object to studying the anatomy and The standards movement was concerned “octametric brick.” This brick was the basis influential book presented a gentle view of
behavior of the typical user to targeting a with improving efficiency in design and of a universal grid that could generate people interacting with architecture.14
consumer demographics. manufacturing more than with enhancing dimensions for any part of a building, Niels Diffrient worked in the office of
Dreyfuss used the terms human comfort. Measuring human movement from construction materials to furniture Henry Dreyfuss from 1955 through 1980,
factors and human engineering and anatomy (anthropometrics) was and appliances. Over time, Neufert’s leading the design of such legendary
to name his philosophy of “fitting the a key component of Taylorization, which publications helped establish standard products as the Princess phone and
machine to the man rather than the man to employed time-and-motion studies to dimensions for a wide range of products, the Polaroid sx-70 camera.15 Together
the machine.” He promoted this principle maximize the productivity of factory fixtures, and building components. with Tilley and research assistant Joan
in his 1955 book, Designing for People, workers. The human worker became a Ultimately, he sought to make the body Bardagjy, Diffrient coauthored the
an anecdotal guide directed at general moving part within the machinery of conform to industrial norms rather than Humanscale series of rotary selectors,
readers.8 Human factors, also called modern industry.10 deriving such norms from the body.12 beginning in 1974. A wheel grommeted
ergonomics, combine knowledge of German architect Ernst Neufert was Treating the body as an industrial inside each of these printed plastic guides
bodily dimensions with an understanding a student at the Bauhaus and collaborated component broke with the classical notion coordinates a figure’s height with various
of psychology. Designing for People also with Walter Gropius on the design of the that “man is the measure,” memorialized other dimensions, such as shoulder
introduced Tilley’s famous drawings of Bauhaus buildings in Dessau in 1925. in Leonardo da Vinci’s iconic cosmological width, head width, and thigh length. The
a typical American couple, dubbed “Joe” Embracing the era’s fascination with global diagram of a man’s body inscribed in a small circles in the Humanscale diagrams
and “Josephine.” To create the drawings, standards for design and manufacturing, circle and square. Da Vinci visualized a represent “pivot points,” simplifications
Tilley studied data employed by the U.S. Neufert sought to coordinate standard passage by the ancient Roman architect of the motions in bone joints. Diffrient’s
military (for men) and the fashion industry measurements for objects, rooms, and Vitruvius (Ten Books of Architecture), who selectors were a triumph of user-centered
(for women). His drawings were later buildings with the dimensions of typical wrote that buildings and cities should be design in their own right, collapsing
published as lifesize wall charts in the bodies. Neufert’s book, Bauentwurfslehre fashioned in units that relate to the scale of massive printed volumes filled with dense
Dreyfuss office’s publication The Measure (Architects’ Data), first appeared in the body, yielding environments well suited linear charts into light, interactive, easy-to-
of Man.9 Tilley determined a range of Germany in 1936; it is still used by to human habitation and locomotion.13 use tools.
percentiles from 1 to 100; The Measure of architects and designers around the A more playful humanism permeates Whereas the earlier drawings of Joe
Man wall charts represent the mean (50th world today, and it has been published in Francis de N. Schroeder’s 1948 guide, and Josephine emphasize the dimensional
percentile). Drawings depicting low and countless editions and translations.11 Anatomy for Interior Designers, based on mean, the Humanscale selectors document
high percentiles appear in the portfolio of Initially, Neufert employed the measurements gathered from existing a diverse continuum. The drawings
prints accompanying the full-scale charts. classical proportions of the Golden architectural standards and insurance depict bodies in the 50th percentile of
the user is not standard, we need to reconsider new measures references.
16
26 beautiful users
11
15
19
1570
22
34
31°
31
°
27°
39
6
1350
Humanscale Body Measurements Selector, stigma of an unsightly walking aid or the 27
1974. Authored by Niels Diffrient (American, 32
1928–2013), Alvin R. Tilley (American, annoyance of an impenetrable pillbox
1914–93), and Joan C. Bardagjy, Henry Dreyfuss discourages users from benefiting from
& Associates (USA). Graphic design by Valerie
these products.
45
Pettis (American, b. 1946). Published by MIT
26
Press (USA). Offset lithograph on plastic with Design historian Bess Williamson has
rotary wheel. Photography: Matt Flynn.
critiqued the urge to assimilate products
930
for people with disabilities into the
9
900 CG
41
females and males. The diagrams also The Museum of Modern Art’s 1988 disability into mass-market products could
present dimensions for the bottom (2.5) project Designs for Independent Living amount to hiding or ignoring actual people
and top (97.5) percentiles. These extremes was one of the first museum exhibitions with disabilities.”18 By promoting products
are indicated with numbers, not drawings; dedicated to universal design. As curator such as canes or bathroom grab bars as 490
140
157
80
excluded altogether are those falling Cara McCarty pointed out, people are lifestyle accessories that work for everyone,
outside the 95 percent range. The greatest “disabled” by obstacles in the environment; companies contribute to society’s desire to
26° 21°
variations in human size occur within the once those obstacles are removed, make disability disappear.
40
population of outliers at the edges of the disability falls away. McCarty wrote, “It is Some recent designs for prosthetics
anthropometric scale. imperative to involve the user in the design openly celebrate the visibility of 9
7
The authors of Humanscale process, for the objective is to develop aids mechanically augmented bodies. From a 80
acknowledged that the diagrams account that will make maximum use of a person’s hi-tech digital limb engineered at Johns
8
for variations in height but not weight: abilities....In the past, the tendency was Hopkins University to a 3d-printed
16 The Measure(s) of Man, 2011. Designed by
in their “fleshy areas,” populations to focus on what a person could not do, hand designed by Richard van As, these Thomas Carpentier (French,
Claudia b. 1986). Degree
Mitchell
feature broader individual differences and products required assistance for use, wonders of ingenuity proudly flaunt their project, École Spéciale
1° femme d’Architecture,
à bras bioniqueParis.
Courtesy of the designer.
than they exhibit in their height. The encouraging dependency.”16 Ten years later, technological identity. Indeed, the uncanny
limb dimensions are averages; actual under the leadership of director Dianne effect of lifelike prosthetics can be more
measurements vary from individual to Pilgrim, Cooper-Hewitt, National Design unsettling to observers than a frank display of conjoined twins, and Borg Queen, a
individual. The goal in creating a standard Museum opened its exhibition Unlimited of disability. character from Star Trek who has a living,
system of measure—even an inclusive one by Design, which promoted the commercial Mary Jane Lupton is a writer born with biological head and a mechanical body.
Etude anatomie
like Humanscale—constantly comes up viability of universal design strategies.17 a deformed right hand. As she was coming As people
1 Ech.: embrace
1/10 technology’s ability to
against human particularity. Universal design wants to empower of age in the 1950s, her family urged her enhance life, assistive devices will celebrate
The Humanscale project responded to individuals to work, live, and travel to conceal her misshapen limb inside a the aesthetics of the cyborg rather than
the universal design movement. In the as independently as possible. Well- naturalistic but rigid cosmetic prosthesis. assimilating bodies to norms.
late 1960s and early 1970s, the newly vocal designed objects humanize the experience The artificial hand’s sole function was By focusing on points of friction
disability community compelled designers, of assistive devices, enhancing the holding a purse or a cigarette. Realizing between people and devices, the
builders, manufacturers, and lawmakers environment not only for people with that the prosthetic “helped” only the people Dreyfuss office pioneered the field of
to accommodate the needs of a greater impairments but for other users as well. who didn’t want to see her deformity, she interface design. Early practitioners
diversity of bodies. Humans face physical When mobility aids and medical products eventually abandoned it altogether. of ergonomics started in the 1940s using
limitations throughout their lives, from are beautiful and convenient, people are Thomas Carpentier has imagined the word interface to describe the plane
childhood through the aging process. Some more likely to use them and thus enjoy new products and spaces for such extreme of connection between humans and
disabilities are permanent and others are improved health and independence. The users as a bodybuilder, an amputee, a pair machines.19 Dials, buttons, and levers invite
GRiD Compass Laptop Computer Prototype,
28 beautiful users
users to operate complex, hidden systems. designers are addressing more than the
Some controls are direct and physical, point of contact between people and
such as the steering wheel of a car, whereas devices. They are seeking, in the words of
others rely on graphic representations, designer Brenda Laurel, ways “for humans
such as the “buttons” on a touch screen. and computers to construct actions
Controls model how a device works, and together.”21 Interaction designers explore
they limit how people affect its actions.20 dynamic exchanges between users and among the user, the software, and the to customers via the company’s website,
Dreyfuss’s Honeywell Round, systems. Both the human and the interface physical object were more compelling than creating an enhanced experience at a
introduced in 1953 after ten years of are actors sharing the stage in a dramatic the physical device. Moggridge cofounded reasonable price.
development, remains the most widely narrative. IDEO, a design firm known for developing An object’s capacity to support action
used thermostat on the planet. A The Nest Learning Thermostat technology-integrated products and for is called an affordance. The dial of a
thermostat is pure interface: it is a switch exemplifies the software-integrated disseminating the design thinking thermostat affords turning, whereas the
for turning a system on and off, and it is products of today. Although many methodology.22 pages of a book afford flipping, fanning,
a display that communicates the system’s homes are equipped with energy-saving, Today, interaction design fits within folding, tearing, and marking. From open
current and future state. Users operate programmable thermostats, countless the broader field of experience design. doors and climbable steps to looming
the Honeywell Round with a simple users—perplexed by the interface—fail to To shape an experience is to script a objects and the sudden drop-off of a
twist of the dial, and they can intuitively implement all the features of such devices. series of narratives around a person’s cliff, some features of the environment
compare the set temperature and the The simple, round Nest uses sensors, encounters with a product or service.23 are recognizable to nearly any creature
room temperature. The Honeywell Round software, smartphone apps, and touch-and- Negative experiences, too, can inspire as sources of danger or opportunity.
replaced clunky boxes that users often turn interaction to respond to users and concepts for new products. Entrepreneur An affordance can trigger an intuitive
mounted crookedly on the wall. Dreyfuss encourage device programming. Andy Katz-Mayfield (cofounder of the response—the crotch of a tree offers birds
reinvented the lowly thermostat—produced One of the great pioneers of interaction eyeglass company Warby Parker) was a safe, stable site to build a nest, whereas a
with little consideration for users—by design was Bill Moggridge. In 1979, GRiD dismayed one day at the high price and flat surface raised to a certain height offers
subjecting it to his process of designing Systems Corporation commissioned low value of a drugstore razor—in his humans a convenient place to sit. An object
for people. Moggridge, an industrial designer, to create frustration, he recognized the potential to doesn’t need arms or legs to become a
Improving users’ experience with what became the first laptop computer. The transform an everyday product category. chair.24
hardware and software has become a GRiD Compass has a screen that flips up to Users find little joy in the hyperstyled, Some affordances can be learned
crucial field of design practice. Interface reveal a keyboard. Priced at approximately blister-packed plastic razors sold in (and unlearned) culturally. The rotary
design, pioneered by Dreyfuss in the $8,000 a unit, the GRiD was reserved for drugstores. In response, the Harry’s design phone dial that appeared self-evident to
1940s and 1950s, has expanded to become elite business, government, and military team reinvented not only the physical generations of users bewilders people
interaction design. As products applications and for NASA space missions. product but also the system for packaging, weaned on buttons and keypads. Humans
ranging from medical devices to remote As Moggridge began using the GRiD distributing, and marketing it. Harry’s sells and other creatures interact with features
controls become staggeringly complex, himself, he realized that the relationships its attractive, pleasant-to-use razors directly of their environment in a continuous
30 beautiful users
exchange. A person becomes a user in compromising the user’s security. solving. Although most IKEA hacks yield and tools for combining and recombining
relation to those features of an object For some people, a lock is not a symbol awkward results, skilled designers such elements. As products seek out an audience
that invite action (handle, dial, switch, of safety and closure but a provocation as Andreas Bhend have created graceful of one, designers may become therapists
armrest). Likewise, these affordances come to break and enter. Whether seeking new products at a low cost, sharing the and soothsayers who lead makers through
into being in response to the stream of intellectual adventure or political or instructions with the public. the process of uncovering their needs and
action. Affordances exist as relationships economic advantage, hackers unravel The design bricoleur views IKEA’s motivations.
between creatures and their environment. secret codes and expose hidden gears. warehouse as a kit of parts rather than a What lies beyond usability? In
A crack in a wall becomes a doorway when Interface design grew out of the need menu of finished goods. OpenStructures Designing Interactions (2007), Moggridge
it reaches sufficient size in relation to a for understandable controls on systems (OS), founded by Thomas Lommée, is mapped out a hierarchy of human factors
creature that might pass through it. A that defy understanding; open-source a system of interlocking components research that puts the dimensions of
saucer is designed to rest beneath a cup; design lays bare the mechanisms behind that can be freely downloaded and human anatomy (anthropometrics) at
it becomes a lid when someone sets it the curtain of the interface. 3d-printed by any designer. Jesse Howard’s the very bottom of a sequence that moves
on top, changing its intended function. The hacker—dressed in the gentler Transparent Tools combine OS parts with upward and outward in complexity and
Affordances are not absolute or objective guise of maker—is conquering the standard wheel assemblies, repurposed reach. Anthropometrics is followed by
features of the environment but exist in realm of products. The term maker went motors, and glass and plastic containers. physiology (how the body works), cognitive
relationship to agents. As people age, mainstream when Dale Dougherty, These open-source objects subvert psychology (how the mind works), and
affordances that once invited action or publisher of a successful series of the industrial designer’s traditional cultural anthropology (understanding the
mobility become obstacles and limitations. software guides, launched the magazine task—exemplified by the work of Henry human condition). Occupying the top of
Objects and their affordances belong Make in 2005.25 The Maker’s Bill of Rights Dreyfuss—of masking technology with an the human factors hierarchy is ecology,
to larger systems. In order to fully function, includes such slogans as “screws not opaque interface. devoted to the interdependence of all living
a wheelchair needs ramps, elevators, and glues,” asserting the user’s desire to take Who is the user of the future? things. Thinking past the user, Moggridge
paved roads. Pills need bottles, bikes need things apart and reassemble them in new Affordable 3d printing promises a new era recognized that the lens of individual
racks, and locks need keys—as well as ways.26 Make triggered a groundswell of of personal design and manufacturing. need is too narrow for the future of design
locksmiths, key-cutting machines, and maker faires, maker lounges, and roving As this promise unfolds, professional thinking. He saw the limits of user-
doormats for hiding spares. The August maker mobiles. Banished from this do- designers will create libraries of forms centered design even while becoming one
Smart Lock replaces the traditional key it-yourself culture is the passive user, of the field’s leading theorists.
with a smartphone app. The user attaches whose needs exist to be mapped out or
an electronic device to an ordinary manufactured.
deadbolt; the device recognizes the owner’s An amateur zeal drives much open-
smartphone as well as the phones of users source design. Turning your robotic We are moving towards a more holistic
who have been granted “keys” to the lock. vacuum cleaner into a cat mobile (Roomba
The owner of the lock can revoke a key hacking) or converting a Lack side table
view of design and its impact on the
at any time as well as create keys that into a standing desk (IKEA hacking) larger person, community, and world.
automatically expire. At once a physical doesn’t solve existential problems, but —Bill Moggridge
product and a digital service, August aims it does empower people to understand
to streamline a routine annoyance without technology, constraints, and problem
Thomas Carpentier
project
Modern society seeks to rationalize, classify, and
11
14
21
1920
22
4
12
36
17
20
1790 15 31°31°
25
38 6
1710
6
11
31°31°
15
8
68
1570
27°
6
19
22
1530
41
°
31°
134
°
33
150
≥
40 39
circulation
38
27°
1330 25
30 67
52
50
36
R5
4°
13
20
R5
43
1060 29
10
CG
22°
1020
19 143
930
9
45° 900 CG
30°
Oscar is one of the fastest men on Earth despite his physical
Coupe Longitudinale
203
4
1 Ech.:
3
1/30
17
difference, but his athletic prostheses are designed only for
20
45°
47
30°
47 running, not for walking or even turning. When he uses them,
41
a stairway serves as a running track. Its angle is flattened,
550
and the stairs’ edges are rounded off.
Circulation
55
490 135
140
140
157
162
179
80
80
91
46
224
220
40
BouleTowing ball
de remorquage
Caténaire Caténaire
Catenary
11 9 The body of the Borg Queen is only composed of her head and her chest.
8 7
The rest of her normal human body is only an accessory.
154
92 80
At home, to easily move from a room to another one, an electric rail is installed
9
through the space. So she doesn’t have connection with the ground anymore
Axonométries
sans
Arnold Schwarzenegger Ping & Jing
27 80
but only with theBorg
Queen ceiling.
Ech.:
e Homo Musculus 100 Danseuses siamoises 50% humaine 50% machine
40
143
49
40
16 16 23 23
4
75CM 75CM
22Kgs 22Kgs
80
13
13
11
11
15
15
14
14
21
21
20
20
312
51°
51°
51°
51° Coffrage
22
22
Casing
Coffrage
36
36
41
41
31°31° 31°31°
Guide
43
Guide
Guide
6
135
Platform
Plateau Plateau
63
Axonométries
1
224
220
Ech.: sans
Bras articulé
Articulated
Bras articulé
arm
Boitier dérivateur
Shunt box
154
Boitier dérivateur
Pince de retenue
Holding pliers
Pince de retenue
27 80
Coupe
2 Ech.: 1/20
Arnold is a body builder with prominent shoulders. The Borg Queen (opposite) has only a head and chest. The
entrance to his house offers an extra-wide opening at rest of her body is an accessory for simulating a human
shoulder height. The resulting door requires a custom appearance. At home, an electric rail allows her to glide
frame with extended hinges. from room to room. She no longer has contact with the
ground, only with the ceiling.
1
Etude face
Ech.: 1/10
281 Etude face
Ech.: 1/10 2
Etude côté
Ech.: 1/10 2
Etude côté
Ech.: 1/10
100
36 beautiful users
40
80
60
20
Coupe BB'
1 Ech.: 1/20
bedroom
90
53
David’s movement:
Niveau circulation
level David
N0 + 90cm
(N0+90)
90
44
100
Coupe CC'
“normal” movement:
Niveau circulation
2 Ech.: 1/20 level N
dit normal N0
0
Elevation
1 Ech.: 1/10
47
47
16
16
+100
+80
100
100
15
15
+60
40
40
80
60
20
80
60
20
Coupe BB'
1 Ech.: 1/20
+40
47
Coupe Coupe
1 Ech.: 1/10 1 Ech.: 1/10
15
37°
11°
41°
18 18
°
156
47
16
1 33 33
Water tap
1 16
19
19
Robinet
15
37°
11°
Front
Jet avant jet
41°
bathroom
Back
16
Jet arrière
1 1 16
jet
101
101
Elevations Elevations Coupe Principe Principe
2 Ech.: 1/10 2 Ech.: 1/10 1 Ech.: 1/10 3 Ech.: 1/10 3 Ech.: 1/10
18
4
5
17
33
19
33
4
5
17
17
33
101
36
15
47
5
17
36
54
15
47
Elevations Principe
2 Ech.: 1/10 3 Ech.: 1/10
54
1 16
1 16
C'
A'
81
130
88
80
67
70
21
80
54 54
41
70
100
B B'
70
Plan de l'espace de David
1 Ech.: 1/20
Coupe AA'
1 Ech.: 1/15
Changing levels could be uncomfortable for David. To Hermaphroditus has both male and female genitalia.
limit level changes, why not bring all the furnishings and A high bidet allows him/her to clean the female organs
sanitary fixtures to the same level? The result is a new while standing in a male position, thus respecting his/
architectural landscape that moves up and down from a her double identity. The sanitary unit stands in the middle
zero level. of the living room in the tradition of Louis XIV, who gave
his gentilhommes the privilege of witnessing the king’s
affairs. The most intimate space becomes public.
40 beautiful users
Miroir
Mirror Hinge
Charnière
Miroir Mirror
Miroir
Miroir
Charnière
Miroir
53°
°
53
30°
°
30
°
15
15°
53°
Mirror
Miroir
°
53
30°
°
30
°
15
15°
Miroir
Coupe Longitudinale
1 Ech.: 1/150
1°
10
Coupe Longitudinale
1 Ech.: 1/150
1°
10
transforming it with surgeries and procedures. Similarly, admits light to the inside is the hole for the flame.
the walls of this structure are a series of transparent Bulging mirrors in the rooms inside the lamp allow light
fabric layers that allow Orlan to recompose the building to permeate the house.
260
260
into new spaces, extending and modifying them for her
412
412
own uses. 2
Détail
Ech.: 1/300
Détail
2 Ech.: 1/300
Coupe Longitudinale Plan
42 beautiful users
11°11°11°11°
living room
Module
Module 1 1
Etude de principe Module 1
3 Ech.:3sansEtude de principe
Ech.: sans
Module
Module 2 2
Module 2
290
76
157
Miroir
11°11°11°11°
53
164
290
76
11°11°11°11°
157
157
Miroir
Mirror
Miroir
53
Module 1
53
Etude de principe
157
3 Ech.: sans
164
290
Coupe Longitudinale
1 Ech.: 1/16 76
53
Dracula would like to sit comfortably while having a drink. Narcissus is in love with his own reflection. Seated in this
157
This double-molded armchair supports his victim’s body Miroir
“confidant armchair,” based on a classic French furniture
Module 1
while he enjoys a taste. type, he can have a conversation with someone else
Etude de principe
3 Ech.: sans
Module 2
without moving his eyes from his own face.
53
Coupe Longitudinale
1 Ech.: 1/16
164
A recomposed family with multiple singularities should be Alice has followed the white rabbit and entered a space
able to dine together at the same table. Here, each chair opposite her own multiphase reality: the housewife’s
has been specially designed for a specific user, resulting Wonderland. The kitchen shown here is the product of one
in variations on an initial model. of the world’s most “thinking standard” companies, and it
was designed with its web tool. It is the counterpoint of
this research on nonstandards.
46 beautiful users
case studies
The word handle is both a noun and a verb.
handle
As a physical thing, a handle invites human grasp.
It is a point of connection between people and
products. From the molded grip of a bicycle to the
delicate loop of a teacup, handles are examples of
what cognitive psychologists call affordances:
features of the environment that trigger or invite
specific behaviors or actions. A thoughtfully
designed handle feels right in the hand; a poorly
designed one provokes pain and discomfort.
The verb to handle means to feel, touch, or
manipulate with the hands. The objects on the
following pages explore handling as an active, lived
exchange between creatures and things. In each
of these projects, designers have invited users to
touch, grasp, hold, push, squeeze, or otherwise
implement an object in order to achieve goals of
their own.
49 handle
Photography: Ransmeier, Inc.
Ransmeier (American, b. 1979). Cardboard. Courtesy of the designer.
Nine Ways to Use a Pitcher Prototypes, 2013. Designed by Leon
Each handle configuration in this series of pitchers vessel. Over a period of several days in July 2012, he
affords a different set of behaviors from users. By starting worked with artisans from GlassLab, a mobile hot-glass
with an archetypal, nearly generic vessel, Ransmeier studio operated by the Corning Museum of Glass, to
focuses our attention on the elementary language of translate his initial prototypes into glass. He returned to
the handle and its communication with the human body. the museum’s glass-blowing studio in Corning, New York,
Ransmeier started by making prototypes in cardboard the following year to create the full set of pitchers.
that established the basic shape and performance of each
50 beautiful users
51 handle
Ransmeier, Inc.
Glass (USA). Handblown glass. Courtesy of the designer. Photography:
(American, b. 1979). Manufactured by GlassLab, Corning Museum of
Nine Ways to Use a Pitcher, 2013. Designed by Leon Ransmeier
Whereas the cardboard handles in the prototypes are
conducive to ribbonlike forms, the final handles are round.
Ransmeier explains that glass “really likes to be round. It’s
a radial material, it’s always spinning, and it’s always being
turned. And so because of that, the round cane handles
feel a bit more natural, and they feel like they fit in your
hand a little bit more nicely as well.”
52 beautiful users
53 handle
2011-50-1/9, 11/20; 2011-50-24. Photography (drawing): Matt Flynn.
paper. Collection Cooper Hewitt, Smithsonian Design Museum, 1992-52-1/10, 25;
carved foam, plastic, wood, plaster, polypropylene, graphite on pre-printed white wove
Wahl. Manufactured by OXO (USA). Stainless steel, Santoprene (thermoplastic rubber),
Viemeister, Stephen Russak, Stephen Allendorf, Michael Calahan, Jürgen Laub, Stephen
Design (USA). Design directors: Davin Stowell, Daniel Formosa. Team members: Tucker
Good Grips Kitchen Tools, Prototypes, and Drawing, ca. 1990. Designed by Smart
The OXO brand of kitchen tools was born when retired The design team created dozens of handle prototypes now encompasses a broad range of products, including
kitchenware designer Sam Farber began working with his out of materials including wood, rubber, plastic, and medical devices and tools for small children, and the
wife, Betsey Farber, to create clay models of implements foam. The designers laid them out on a table to test and chubby, black rubber handle has become an icon of
with thick, easy-to-grasp handles. Betsey suffered explore. Among the wooden and plastic prototypes was comfort and ease of use. OXO embraces a core principle
from arthritis, which made it painful to use an everyday a standard rubber bicycle handle, which team members of universal design: that improving access for disabled
vegetable peeler. Sam then partnered with Smart Design kept picking up and handling. That rubber handle became users improves the experience of those of ordinary ability.
to develop the OXO Good Grips line. a key inspiration for the final product line. The OXO brand
54 beautiful users
55 handle
Polycarbonate plastic. Courtesy of the designers.
Smart Design (USA). Manufactured by UCB Pharmaceuticals (Belgium).
Cimzia Home Injection Experience Prototypes, 2010. Designed by
57 handle
3D-printed ABS plastic fasteners. Courtesy of the designers.
sandpaper, woven adhesive tape, laminate graphics, plastic sheet,
Designed by IDEO (USA). Bistable spring steel, medical-grade
Iomai Needle-Free Vaccine Delivery Prototypes, 2006.
In 2006 delivering vaccines to patients required a vaccine. IDEO produced hundreds of prototypes to test placement. The final design is a production-ready model emerging economies. Iomai completed its IPO in 2006
skilled technician and a sterile needle. Iomai, a company ways that users could disrupt their skin and accurately for a device that could revolutionize vaccine delivery. The and was funded under a contract with the Department of
that specialized in transcutaneous immunization, place the patch over the prepared area. After many patch has a stable shelf life and can be shipped through Health and Human Services directed toward its pandemic
commissioned IDEO to develop a user-centered needle- rounds of prototyping and user testing, IDEO created a the mail and self-applied by users; it is designed for ease flu program. Iomai was acquired by Intercell in August
free vaccine-delivery system. Testing determined that design that uses sandpaper to remove the top layer of of manufacture with standard materials and processes. 2008.
forty microns of skin—equivalent to the thickness of a skin, a bistable button to provide both visible and audible The product thus addresses such urgent human needs
plastic bag—must be removed to prepare skin for the feedback, and ink to leave behind guides for the patch as pandemic vaccination and large-scale vaccination in
58 beautiful users
59 handle
(USA). Plastic (ABS, TPE, PET, PP, and others). Courtesy of Sabi.
Yves Béhar (Swiss, b. 1967), fuseproject (USA). Manufactured by Sabi
Sabi THRIVE Pill Organizers and Accessories, 2011. Designed by
Sabi THRIVE products encourage compliance by making together. The FOLIO pill carrier looks like a personal Sabi seeks direct feedback from users. The company
pill use a more positive experience. In the words of Sabi notebook, providing privacy, convenience, and a tailored learned that many people were using the CARAFE for
founder Assaf Wand, “These stealthy, whimsical products appearance. The SPLIT Pill Cutter has no metal blade, dietary supplements, requiring a bigger storage cap;
take the shame out of pill use.” The designers’ process which means it doesn’t have to be sold behind the counter users wanted to put the larger cap in the dishwasher, and
drawings explore various directions for integrating pill in drugstores; a soft surface inside the cutter allows the they wanted to be able to sip from the water container
use into daily life, including containers for organizing plastic blade to cut through hard pills with ordinary palm without removing the cap. Sabi incorporated these user
pills, dispensing pills, and carrying pills and water pressure and provides the user with haptic feedback. suggestions into the CARAFE grande.
60 beautiful users
61 handle
Sabi (USA). Courtesy of Sabi.
b. 1969). Polyurethane model board, sintered nylon. Manufactured for
founded by Edward Barber (British, b. 1969) and Jay Osgerby (British,
Sabi HOLD Bathroom Prototypes, 2014. Designed by MAP (UK),
The Sabi HOLD is a no-stigma approach to helping people reference to conventional grab bars. Seventy percent
get in and out of the bath or shower. The easy-to-install of bathroom falls occur getting in and out of the bath or
fixture also functions as a towel holder, which integrates shower. Grab bars have become an important feature
it into the bathroom decor. The prototypes reveal how of fall-prevention programs. Studies show that users
the designers explored a variety of handle shapes before typically employ grab bars to steady their balance as they
arriving at HOLD’s serene circular form. The final product get in and out of the bath, rather than to pull the body up
is comfortable to grasp and intuitive to use while avoiding or lower it down.
62 beautiful users
63 handle
plated aluminum alloy, brass. Courtesy of Harry’s.
polycarbonate, TPR, stainless steel, chrome-plated zinc alloy, chrome-
and FeinTechnik GmbH Eisfeld (Germany). Painted polymer, ABS,
by Zhuhai Technique Plastic Container Factory Co., Ltd. (China)
b. 1968), Prime Studio (USA). Manufactured for Harry’s (USA)
Stuart Harvey Lee (British, b. 1965) and Jochen Schaepers (German,
Harry’s Shaving Drawings and Prototypes, 2013. Designed by
3 4 5
6 7
1 Concept sketches
2 Internal components
3 First appearance model
4 First factory prototype
5 Surface-finish exploration
6 Cartridge connection optimization
7 Some rejected colors
8 Final Harry’s Truman assortment
Andy Katz-Mayfield was tired of paying high prices for Jochen Schaepers of Prime Studio. Lee and Schaepers
shaving products that didn’t appeal to him as a user. designed dozens of prototypes in order to create a handle
He and his partner, Jeff Raider, set out to build a brand both classic and ergonomic. The drawings and prototypes
dedicated to customer experience and predicated on shown here tested and explored various shapes, finishes,
high-quality, thoughtfully designed products delivered at materials, and colors while studying the angle of
fair prices. They worked with branding agency Partners connection between the product and the user’s skin.
8
& Spade and industrial designers Stuart Harvey Lee and
64 beautiful users
65 handle
paper. Courtesy of Harry’s.
(China) and FeinTechnik GmbH Eisfeld (Germany). ABS, engineered
Harry’s (USA) by Zhuhai Technique Plastic Container Factory Co., Ltd.
graphics designed by Partners & Spade (USA). Manufactured for
Schaepers (German, b. 1968), Prime Studio (USA). Branding and
designed by Stuart Harvey Lee (British, b. 1965) and Jochen
Harry’s Shaving Packaging (Winston Set), 2013. Packaging
Left to right, top to bottom: Schaepers and Lee sort by FeinTechnik GmbH Eisfeld (Germany). In 2014, Harry’s Harry’s distributes its products primarily through direct
through a box of shaving products purchased from local purchased the German manufacturer, a move designed to sales on its website (harrys.com). The packaging, made
drugstores—the razors are packaged in hard-to-open make Harry’s more competitive with giants like Gillette. from engineered paper and minimal plastic components,
plastic bubbles and styled with swoopy curves and is the user’s first point of contact with the physical
aerodynamic fins. “Nobody likes this stuff,” says Lee. product. A complete set, which includes a handle, three
Harry’s handles are produced by Zhuhai Technique Plastic blades, and Harry’s signature shave cream, costs from
Container Factory Co., Ltd. (China). The blades are made $15 to $25.
66 beautiful users
67 handle
the designers. Photography: Matt Flynn.
(Canada). Foam, foamcore, cardboard, stainless steel. Courtesy of
1964), Boym Studio (USA). Manufactured by Gourmet Settings
Boym (Russian, b. 1955) and Laurene Leon Boym (American, b.
Hybrid Flatware and Prototypes, 2007. Designed by Constantin
71 handle
8-38/41, 2014-8-43/57, and 2014-8-60. Photography: Matt Flynn.
Smithsonian Design Museum, gift of the Estate of Eva Zeisel, 2014-
born Canada, 1974). Cut paper, graphite. Collection Cooper Hewitt,
(American, born Hungary, 1906–2011) with Olivia Barry (American,
Cutouts: Designs for Eva Flatware, 2012. Designed by Eva Zeisel
Born in Hungary in 1906, Eva Zeisel endured two world Zeisel employed cut paper in her design process. These
wars and the Soviet revolution. She spent sixteen months cutouts enabled her to refine and emphasize the curving
in a Russian prison and escaped Nazi persecution silhouettes that are the hallmark of her work. Her Eva
before immigrating to the U.S. in 1938. Best known for flatware, created for the retailer Crate and Barrel, is
her ceramics, Zeisel called herself a modernist with a among her last designs. Olivia Barry, Zeisel’s design
little m. She rejected doctrinaire geometries in favor of assistant, produced these cut-paper designs with Zeisel’s
fluid forms and counterforms. Throughout her career, guidance.
73 handle Eva Flatware, 2012. Designed by Eva Zeisel (American, born
Hungary, 1906–2011) with Olivia Barry (American, born Canada,
1974). Manufactured by Yamazaki Tableware, Inc. (Japan) for Crate
and Barrel (USA). Forged stainless steel. Collection Cooper Hewitt,
Smithsonian Design Museum, gift of Crate and Barrel, 2014-8-1/5.
Photography: Ellen McDermott.
A model maker produced three-dimensional prototypes
75 handle
3
Power
Coil
Nerve 2
Physics Lab.
prototype material (concept prototype). Courtesy of JHU Applied
printed circuit boards, select polymers (MPL v.1.0); 3-D printed rapid
Physics Lab and Hunter Defense Technologies (USA). Aluminum, steel,
Prototype, 2009. Designed by Johns Hopkins University Applied
Modular Prosthetic Limb (MPL) v.1.0, 2009, and MPL Concept
Modular Design
4 Carbon-Fiber Harness Placing the controller in the
Molded to the body, palm lets the prosthesis
the shell is strong but work for both full and partial
lightweight. amputations.
Lithium Battery
Removable for
daily recharging.
Shoulder
Humeral
Rotators
Rotator
5
Wrist
Rotator
Elbow
Rotator
Weight Nine pounds, like Sensory Data Fingertip
the average adult arm, the nodes have the potential to
bionic limb can curl about detect pressure, vibration, and
45 pounds. temperature. The data is sent
wirelessly to the electrode
arrays, then back through the
nerves to the brain.
A human hand has twenty-eight moving, articulated remotely for completing human-hostile tasks such as motor function and can’t produce myoelectric signals. An takes the arm and elbow with it. Over time, the user’s
joints. The Modular Prosthetic Limb (MPL) comes close, bomb extraction. Amputees can control the device from “invasive array” of ninety-six tiny electrodes and multiples brain activity correlates with movements; the system and
with twenty-six joints. These mechanical joints are sensors placed against the skin of their remaining limb; thereof can plug directly into a user’s brain, tracking the the brain learn to work together so that the appropriate
operated by just seventeen motors, which keeps the the sensors pick up electrical signals (myoelectricity) ionic charge and discharge of neurons and allowing the brain impulses yield the desired motions.
fingers lightweight. Some of the joints move in concert from the muscles that signal the desire to move the arm user to control the position and orientation of the MPL
with or in response to other joints or in response to and hand. People suffering from paralysis or ALS can hand as well as to shape multiple grasps. When the user’s
external pressure/stimulus. The limb can be controlled control the limb with their brains. These users have no brain commands the hand to move forward, the hand
(For printing with clear PLA 1.75mm)
76 beautiful users
77 handle
the designer.
(South African). 3D-printed PLA, stainless-steel parts. Courtesy of
Robohand Prosthetic Hand, 2013. Designed by Richard van As
Figure 3: Makerware Software Change Dimensions Menu
3.1. Measure the length of the individuals knuckles (i.e. from index to pinkie fingers across the
top of the hand)
3.2. Select all pieces on the bed (select one and then ctrl A to select all)
3.4. The standard download size for the knuckle block is set at 65mm
3.5. For every 5% you increase or decrease the scale this will add or subtract 5mm to the hand
size
Example: Take your measurement from the individuals hand i.e. 75mm, add 5mm for Ortho
plastic = 80mm. Type in 115% for scale to.
NOTE: Do not change any part individually as the hand will be out of sync and not fit together
properly.
Richard van As, a South African woodworker, lost four multiple iterations quickly and at low cost. How does the hand, received his first Robohand in 2013. 3D printing
fingers in a shop accident in 2011. Frustrated to learn Robohand work? Cables attached to the base structure technology is enabling Liam’s family to replace the hand
that functional prosthetic fingers could cost more cause the prosthetic fingers to curl when the user’s wrist affordably as he grows. The files for Robohand are posted
than $10,000 each, he sought to design an affordable folds and contracts, enabling the fingers to grasp objects. online on Thingiverse, allowing users around the world to
prosthetic hand with functioning fingers. Using a Seeing the humanitarian potential of his invention, van produce and modify their own devices (thingiverse.com/
MakerBot Replicator 2 Desktop 3D Printer (donated by As began to develop prosthetic hands for other users. robohand/designs).
MakerBot), he was able to prototype his device and create Liam, a six-year-old boy born with no fingers on his right
78 beautiful users
79 handle
laces, metal components. Courtesy of the designer.
Richardson (American, b. 1984). Bamboo, canvas, plastic bottle, cotton
BamBam Prosthetic Limb Prototypes, 2012. Designed by Nicholas
Nicholas Richardson designed his first prosthetic device all people with amputations live in developing countries, agricultural communities. He experimented with recycled cuff” that connects to various tools, including a rake,
after breaking his thumb in a skiing accident in fourth where even used or outmoded prosthetics are expensive bottles and 3D printing before hitting on bamboo, a a broom, and a shovel. A canvas sleeve, reinforced
grade. He and his father hot-glued a Bic pen to a piece of and scarce—and usually don’t fit the people who need material that is strong, light, cheap, and easy to grow with bamboo ribs, secures the prosthetic to the user’s
salvaged plastic packaging; the device slipped over his them. Furthermore, they have to be custom-fitted and locally. Bamboo can be bent or shaped with basic stump. An artist in Providence, Rhode Island, has been
index finger, allowing him to write. For his senior thesis refitted over the course of the patient’s life. Richardson tools, such as a machete, a rudimentary steamer, and testing the device. She reports that BamBam is more
at Maryland Institute College of Art (MICA), Richardson decided to create an adjustable device that would be sandpaper. Instead of trying to make a perfect hand that comfortable than traditional medical gear. Richardson is
designed a prosthetic arm. He learned that 80 percent of helpful to people with upper-body amputations living in can do everything, he designed an adjustable “locking now seeking funding to develop his system further.
80 beautiful users
case studies
human-centered design addresses the needs
mobility
of global populations and people with diverse
abilities. The freedom to move around one’s home
and community is key to achieving personal and
economic independence. Bicycles, wheelchairs,
and canes can transform users’ lives and
livelihoods. Each conveyance, however, exists
within a broader system. Standard wheelchairs
require smooth roads, ramps, and elevators; they
can’t function on the rough terrain that users face
in many towns and landscapes around the world.
Bicycles can be difficult to park, store, or carry
indoors, creating problems for daily commuters.
Some people avoid using canes and walkers that
look like medical equipment; good design can
make assistive devices more appealing to users
by combining beauty and function. Advocates
of universal design demand an improved
experience and broader access for as many users
as possible.
83 mobility
Industries (India). Mild steel, bicycle components. Courtesy of GRIT.
Harrison O’Hanley (GRIT). Manufactured for GRIT (USA) by Pinnacle
Frey (MIT). Designed by Amos Winter, Mario Bollini, Benjamin Judge,
Mario Bollini, Tish Scolnik, Benjamin Judge, Harrison O’Hanley, Daniel
Leveraged Freedom Chair (LFC), 2013. Invented by Amos Winter,
Continuum LLC.
Continuum LLC (USA). Aluminum, 3D-printed plastic. Courtesy of
O’Hanley, Daniel Frey (MIT). Designed by Jake Childs and Jung Tak,
by Amos Winter, Mario Bollini, Tish Scolnik, Benjamin Judge, Harrison
Leveraged Freedom Chair (LFC) Prime Prototype, 2012. Invented
The Leveraged Freedom Chair (LFC) is designed to be the chain-and-sprocket drive train of a standard bicycle indoors. The LFC was invented by Amos Winter and his Winter’s invention and developed the LFC Prime (above).
manufacturable, repairable, and rideable throughout with two extended push levers to allow the user to move students at the MIT Mobility Lab; the team later founded Building on the original’s core gear-and-lever technology,
the world. Twenty million people around the globe need up to 80 percent faster on flat ground and to produce GRIT (Global Research Innovation and Technology). the LFC Prime is a concept model for a high-performance
wheelchairs but don’t have access to the ramps and 51 percent higher torque on rough terrain. Users shift The LFC shown here was produced at GRIT’s contract wheelchair. GRIT is working with wheelchair users in the
paved roads required by traditional push-rim chairs. The gears by moving their handhold along the length of the manufacturer in India. It is currently being distributed United States and building on this concept to develop a
LFC allows for off-road travel and uses human power levers. The levers can be removed and stored on the throughout India and other developing countries. The fully functional product, expected to be on the market in
more efficiently than standard wheelchairs. It combines frame of the chair, allowing it to be used comfortably design firm Continuum LLC improved the aesthetics of late 2014.
85 mobility
LFC Case Stories: Panna Lal Sahu and Ravi. Courtesy of GRIT.
Living in Jaipur, India, Panna Lal Sahu was run over by a I got the LFC, I started going out on my own and started Before Ravi got his LFC in March 2013 at age fifteen, his and perceives things better now and is able to talk to
car, which damaged his spinal cord. After a year confined feeling better. Now I ride my LFC five kilometers a day. I mobility was limited to his house. Living in Delhi, India, others easily. He is happier and more confident. His hands
to a bed, he received a standard folding wheelchair, but meet and interact with people, which makes me feel good. he could never go outside by himself. His parents got him have become stronger and his appetite has improved.
he was unable to go outside without someone pushing the I am inspired and want to start working again.” crutches, but he was unable to use them. Now Ravi goes Ravi reports, “It is a lot of fun to ride the LFC. I go around
chair. In January 2011, he got an LFC. Panna Lal reports, out unaccompanied and engages with the children in on my own, and I really like it. I go farther distances
“After my accident, I was bedridden for more than a year. the neighborhood. Every day he spends four to six hours with my brother, and we play a lot. I go to shops and buy
I lost my job and used to be upset most of the time. After outside his home. His parents say that he understands chocolates.”
87 mobility
Aluminum, plastic. Courtesy of Ming Cycle.
Sanders (British, b. 1958). Manufactured by Ming Cycle (Taiwan).
STRiDA LT Bicycle and Logo Sketch, 1985–2009. Designed by Mark
After studying and working in mechanical engineering, “rolling umbrella.” The striking triangular profile enables
Mark Sanders sought to create a product that brings users with a wide range of heights, from taller than six
aesthetics and humanity to innovative engineering. In foot four inches down to five foot three inches or shorter,
1985, he designed the STRiDA bicycle for his industrial to ride the same model of bicycle. Sanders established
design thesis project at the Royal College of Art, in MAS Design Products to manufacture the STRiDA. He
London. The STRiDA can be folded in less than ten later sold the design to Ming Cycle in Taiwan, which now
seconds and is easy to move in its folded state—like a distributes the bike worldwide.
88 beautiful users
89 mobility
varnish, recycled rubber. Courtesy of the designer.
Cardboard Technologies (Israel). Cardboard, glue,
Gafni (Israeli, b. 1962). Manufactured by I.G.
Izhar Cardboard Bike, 2013. Designed by Izhar
Waterproof and
fireproof
Adjustable, Weight:
ergonomic Less than
cardboard 27 lbs
seat (12 kg)
Maximum load:
Parts made 275 lbs
Frame, wheels, (125 kg)
from recycled
handlebars, and
plastic
seat made from Suitable for riders
bottles
cardboard with heights
5–6.2 ft
(155–190cm)
Israeli inventor Izhar Gafni has used the principles of typical bicycle. The resulting bike could retail for about
origami—which builds strength into paper by folding $60; Gafni and his business partner Nimrod Elmish are
it—to create a strong, durable bicycle from cardboard. developing plans for further reducing the cost, including
The finished bike, which is sealed with glue and varnish, on-bike advertising and green manufacturing subsidies.
holds up to 500 pounds. After building an initial working
prototype that looked like a “package on wheels,” Gafni
went on to produce a version that looks more like a
90 beautiful users
91 mobility
(this spread and the following spread).
MDF. Courtesy of the designers. Photography: Davide Farabegoli
Wai (British, b. 1980), Lanzavecchia + Wai (Italy). Maple, lacquered
produced by Francesca Lanzavecchia (Italian, b. 1984) and Hunn
No Country for Old Men: Together Canes, 2012. Designed and
Many people avoid using canes and walkers because
they look like medical equipment. These prototypes are
designed to be elements of domestic life, supporting
rich social and mental activities while encouraging safe
mobility. The T-Cane helps users serve tea and snacks.
The U-Cane holds books, magazines, and supplies for
knitting and crafting. The I-Cane doubles as an iPad stand.
93 mobility
92 beautiful users
94 beautiful users
case studies
Many contemporary products feature integrated
interface
hardware and software. An interface is a mix of
inputs and outputs, signals and gestures, that allow
humans and devices to communicate via sight,
sound, touch, and even smell. As smart products
begin to emulate human behavior, some people
respond to them with emotions of attachment,
trust, or empathy.
Henry Dreyfuss’s Honeywell Round
thermostat, which replaced earlier box-shaped
models, operates with a simple turn of the outer
ring. Recent products like the Nest Learning
Thermostat and the August Smart Lock combine
advanced digital technology with simple forms to
merge seamlessly with daily activity. Such products
belong to the broader fields of interaction design
and experience design, which consider the full
narrative of a user’s engagement with a product or
offering.
97 interface
gift of Honeywell Inc., 1994-37-1. Photography: Hiro Ihara.
plastic. Collection Cooper Hewitt, Smithsonian Design Museum,
(USA). Manufactured by Honeywell Inc. (USA). Metal, molded
Dreyfuss (American, 1904–72), Henry Dreyfuss & Associates
T86 Round Thermostat, 1953 (opposite page). Designed by Henry
Honeywell Inc., 1997-10-15, 1997-10-18. Photography: Matt Flynn.
board. Collection Cooper Hewitt, Smithsonian Design Museum, gift of
Stickney (American, 1892–1975). Brush, gouache, and ink on illustration
1904–72), Henry Dreyfuss & Associates (USA). Rendered by Roland
Designs for Regulator, 1949. Designed by Henry Dreyfuss (American,
Henry Dreyfuss began designing the Honeywell Round in 1953, is remarkably simple. Temperature adjusts with
Thermostat in 1943. He observed that rectangular a twist of the dial. Some models allow users to intuitively
thermostats often sit crooked on the wall; a round compare the set temperature and the room temperature.
device would be easier to install properly. The numerous The product also invited customization: users could
drawings leading up to the completed product reveal remove the protective cover and paint the device to
Dreyfuss’s attention to user interaction; some designs match the room. The Honeywell Round remains one of the
incorporate a clock face. The Honeywell Round, released world’s most commonly used thermostats.
99 interface Nest Learning Thermostat, Second Generation, 2012. Designed by
Tony Fadell (American, b. 1969). Manufactured by Nest (USA). Glass,
metal, electronic components. Courtesy of Nest Labs, Inc.
Preparatory Drawing for Nest Learning Thermostat: Proposed Two Preparatory Drawings for Nest Learning Thermostat: Proposed Design
Design for Integration of Back Plate into Head Unit (detail), for Minimizing Motion Sensor Window and Cross Section of Wire to Board
2011. Designed by Eric Daniels (American, born Germany, 1974) Connector, 2011. Designed by John Benjamin Filson (American, b. 1977) for
for Nest Labs, Inc. (USA). Pen and blue ink on white lined paper. Nest Labs, Inc. (USA). Pen and black ink on cream paper (2014-9-8). Pen and
Collection Cooper Hewitt, Smithsonian Design Museum, gift of orange, green, red, and black ink, and graphite on cream paper (2014-9-5).
Nest Labs, Inc., 2014-9-2. Photography: Matt Flynn. Collection Cooper Hewitt, Smithsonian Design Museum, gift of Nest Labs,
Inc., 2014-9-8, 2014-9-5. Photography: Matt Flynn.
101 interface
Courtesy of the designer.
Designed by Yves Béhar (Swiss, b. 1967), fuseproject (USA).
August Smart Lock Concept and Interface Drawings, 2013.
The August Smart Lock is an app-enabled device that fits of the lock. Whereas physical keys can be duplicated and idea of a system that connects a physical product with The storyboard above shows how users will interact with
over an existing single-cylinder dead bolt. The app allows distributed without the owner’s knowledge, an August apps and data. The sketch also includes ideas for the the product on their smartphone. In the scenario shown
the system owner to distribute virtual keys to guests, lock allows the owner to track who has access to a product’s name and raises questions about potential here, the homeowner has multiple August locks, including
family members, service people, and others. The system property and when someone has entered or departed. problems and opportunities (sustainability and stickiness, his front and back doors, and on his gun closet. He is
owner can create keys with automatic expiration dates Users can still employ physical keys when needed. The commoditization of hardware, supply-chain complexity). giving electronic keys to a circle of guests—from out-of-
and disable keys at any time. The August Smart Lock sketch above, by designer Yves Béhar, shows early As the design process moved forward, the interface town visitors to dog walkers—and he can grant each a
recognizes key holders when their smartphone is in range concept development for the product, diagramming the became as important as the physical device. different level of access.
103 interface August Smart Lock, 2013. Designed by Yves Béhar (Swiss, b. 1967),
fuseproject (USA). Manufactured by August (USA). Metal, glass,
electronic components. Courtesy of the designer.
The design team produced numerous prototypes of the
August Smart Lock as well as the colors and patterns
employed in the product and app interfaces.
102 beautiful users
104 beautiful users
105 interface
Product-User Relationship over Time
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Out of the box First cleaning Advanced Features Advanced Features Routine use
Anticipation Hope Inquisitiveness Contentment
Infatuation Trust Apprehension Collaboration
Excitement Vigilance Delight Detachment
Fascination Nurture Disappointment Communication
Faith Observation Respect Tolerance
Admiration Pride Frustration Resignation
Surprise Compassion
Disillusionment
ISSUE:
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When Smart Design set out to create the Neato Robotics by the machine. Users want to activate the machine with the machine (opening the package and learning to
Automatic Vacuum Cleaner, the firm began with research, with their foot instead of bending over, and they want operate the device) can be an exciting point of discovery;
observation, and analysis. How do people interact with to avoid touching dirt. People often handle their robots but as the product is put to use, the relationship grows
existing robotic vacuums, such as the popular Roomba? gently, like a pet. Additional research revealed that users more distant. Before long, users expect their robot to
Carla Diana and Smart’s design team visited the homes often give their robots names, seeing them as a bit more serve as a dependable, familiar support to daily living. An
of Roomba users. The team learned that users express than machines. They forgive the device’s occasional interface can be designed to adapt over time in dialogue
both amazement and disgust at the debris collected clumsiness as quirks of individuality. A user’s first contact with the user.
106 beautiful users
107 interface
designers.
(finished product). Manufactured by Neato (USA). Courtesy of the
electrical components (prototype); plastic, electrical components
2013. Designed by Smart Design (USA). Acrylic, polycarbonate,
Neato Robotics Automatic Vacuum Cleaner Interface Prototype,
People want their robots to communicate clearly. To Neato makes a unique sound when it encounters a person
create the interface for the Neato Vacuum Cleaner, or gets trapped or lost from the base unit; each sound
Smart’s design team devised a vocabulary of icons, implies a subtle emotion or attitude. Early prototypes
sounds, and text to signal the various states of Neato’s for Neato feature large-scale LED graphics that glow
operation, ranging from wake-up and sleep tones to through the plastic skin, an innovative display concept
utilitarian warnings and alerts. To avoid fatiguing users, that informed the current version of the product and
the interface employs full tones and melodies sparingly. serves as a vision for future designs.
108 beautiful users
109 interface
designers.
Smithsonian Design Museum. Digital renderings. Courtesy of the
and production by Local Projects. Commissioned by Cooper Hewitt,
Design for Body Scan, 2014. Interactive media concept, design,
People experience design in relation to their own bodies. and even letterforms in relation to idealized human
The things and spaces we use are extensions of our proportions. In the twentieth century, Henry Dreyfuss,
proportions, perceptions, abilities, and limitations. Niels Diffrient, and others embraced the diversity of
Designed by Local Projects, this interactive experience human scale and launched a new approach to “designing
invites visitors to see their silhouette in relation to images for people.”
sampled from Cooper Hewitt’s historic collection. Since the
Renaissance, designers have conceived of cities, buildings,
can be downloaded from Thingiverse.com and other sharing sites as a set of 3D models in .STL format, suitable for reproduction by personal
fabrication systems. >>> For more information, please see: http://fffff.at/free-universal-construction-kit.
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US Pat. 3597875 / Aug. 10, 1971 US Pat. 3464147 / Sep. 19, 1966 US Pat. 5061219 / Dec. 11, 1990 US Pat. 3603025 / Sep. 30, 1968 US Pat. 3005282 / Jul. 28, 1958 US Pat. 1351086 / Jan.8, 1920 US Pat. 1113371 / Jul. 8, 1914 US Pat. 6840699 / Nov. 1, 2002* US Pat. 5897417 / Dec. 11, 1996*
Dup F i s c K Krin L i n c T i n k Z Z
Godtfred K. Christiansen Artur Fischer Joel Glickman & M. Doepner Walter Heubl Godtfred K. Christiansen John Lloyd Wright Charles H. Pajeau Steven Rogers & P. Hildebrandt Michael J. Grey
US Pat. 3597875 / Aug. 10, 1971 US Pat. 3464147 / Sep. 19, 1966 US Pat. 5061219 / Dec. 11, 1990 US Pat. 3603025 / Sep. 30, 1968 US Pat. 3005282 / Jul. 28, 1958 US Pat. 1351086 / Jan.8, 1920 US Pat. 1113371 / Jul. 8, 1914 US Pat. 6840699 / Nov. 1, 2002* US Pat. 5897417 / Dec. 11, 1996*
(Lego to Duplo Du
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In a world of complex hi-tech products, some
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which invites multiple authors to write and
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by manufacturer)
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by manufacturer)
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The Free Universal Construction Kit is licensed under and subject to the terms of the Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.
uck-09f01m uck-09f03m
You are free to copy, distribute and transmit the Kit, and to remix and/or adapt the Kit; in doing so, you must attributeuck-09f05m
uck-09f04m
uck-09f06m
the Kit to “F.A.T. Lab and Sy-Lab”. Please note
uck-09f07m uck-09f08m * Two construction playsets nominally supported by the Kit are still
protected (as of March 2012) by active patents: Zoob (patented 1996)
Free Universal Construction Kit Poster (detail), 2012. Designed
by Golan Levin (American, b. 1972) and Shawn Sims (American,
that extensions to the Kit require the same or similar license. You may not use the Kit for commercial purposes. For inquiries, please contact info@adapterz.org.
uck-09f00m and ZomeTool (patented 2002). For the Zoob and Zome systems,
please note that we have delayed the release of adapter
Lego®, Duplo®, Fischertechnik®, Gears! Gears! Gears!®, K’Nex®, Krinkles®, Bristle Blocks®, Lincoln Logs®, Tinkertoys®, Zome®, ZomeTool® and Zoob®
are trademarks of their respective owners. The Free Universal Construction Kit is not associated or affiliated with, or endorsed, sponsored, certified or approved by, any of
models until December 2016 and November 2022, respectively. b. 1986). Released by Free Art and Technology (F.A.T.) Lab and
The Free Universal Construction Kit is licensed under and subject to the terms of the Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.
the foregoing owners or their respective products. The Kit is represented, for legal purposes, by Adapterz, LLC.
You are free to copy, distribute and transmit the Kit, and to remix and/or adapt the Kit; in doing so, you must attribute the Kit to “F.A.T. Lab and Sy-Lab”. Please note * Two construction playsets nominally supported by the Kit are still
protected (as of March 2012) by active patents: Zoob (patented 1996)
Synaptic Lab (USA). Courtesy of the designers.
that extensions to the Kit require the same or similar license. You may not use the Kit for commercial purposes. For inquiries, please contact info@adapterz.org.
and ZomeTool (patented 2002). For the Zoob and Zome systems,
please note that we have delayed the release of adapter
Lego®, Duplo®, Fischertechnik®, Gears! Gears! Gears!®, K’Nex®, Krinkles®, Bristle Blocks®, Lincoln Logs®, Tinkertoys®, Zome®, ZomeTool® and Zoob®
models until December 2016 and November 2022, respectively.
are trademarks of their respective owners. The Free Universal Construction Kit is not associated or affiliated with, or endorsed, sponsored, certified or approved by, any of
the foregoing owners or their respective products. The Kit is represented, for legal purposes, by Adapterz, LLC.
112 beautiful users
I.
B.
H.
A.
J.
E. L.
D.
H.
K.
B. Rear Wheel Support - CNC Milled F. Hose Adaptor - 3D Printed J. Toggle Switch
OpenStructures Compatible OpenStructures Compatible Standard Component
thingiverse.com/thing:25979 thingiverse.com/thing:25802 rs-online.com / item# 251-9253
C. Front Wheel Support - CNC Milled G. Plastic Thermos Cover K. Wheels and Axle
Openstructures Compatible Improvised solution Standard Component
thingiverse.com/thing:25798 160mm diameter
D. Switch Cover - 3D Printed H. Plastic Thermos End Caps L. 35mm Swivel Wheel
OpenStructures Compatible Improvised solution Standard Component
thingiverse.com/thing:25081
Jesse Howard designs his open-source Transparent Tools and manufacturing; anyone can contribute parts to the
from standard wheel assemblies, repurposed motors, system. The canister for Howard’s Improvised Vacuum
3D-printed parts, and glass and plastic containers so that comes from a plastic thermos; the motor was salvaged
users can, in principle, make their own. The 3D-printed from a broken vacuum. The instructions for building the
parts are designed for OpenStructures (OS), a library vacuum include web addresses and part numbers, inviting
of universal, modular elements founded by designer users to become makers.
Thomas Lommée. OS promotes open-source building
126 cm
109 cm
137 cm
FROSTA Z
82 cm
116 beautiful users
163 cm
152 cm
126 cm
109 cm
137 cm
82 cm
X
242.862.05
+ +
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Andreas Bhend
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8 cm
1 2
24x 24x
3
5
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5x
152 cm
126 cm
109 cm
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IKEA hackers repurpose existing components into coat rack with parts from IKEA’s Frosta stool. (Frosta is
4
new and surprising objects, approaching the Swedish a four-legged version of Alvar Aalto’s classic Stool 60,
furniture giant’s repertoire of goods as an open catalog of 1933, which has three legs). Bhend publishes his IKEA- 8 cm
parts and pieces. IKEA’s manufacturing strategy already based instructions online to encourage other users to
mobilizes the labor of users, exploiting flat-pack design implement his hacks and invent their own.
solutions to reduce the cost of assembling, shipping, and
storing finished products. Andreas Bhend designed this
118 beautiful users
Founded in 2011 by Edward Boatman, Sofya Polyakov, and With icons ranging from “global warming” and “sustainable The platform supports creative producers by offering
Scott Thomas, the Noun Project is an online platform that energy” to “break dancing” and “Gangnam style,” the Noun a channel for sharing and profiting from their work. The
uses crowdsourcing to build a pictorial language everyone Project enables anything to be communicated visually. It Noun Project icons are widely used in editorial design,
can understand. Building on the belief that simple graphics accepts submissions from users, and its various licensing interface design, signage, posters, and information
enable communication among diverse global communities, agreements allow icons to be used for free with proper graphics. They build on a long tradition of pictograms
thenounproject.com has become a vast dictionary of attribution or, alternatively, without attribution for a created for public education.
graphic icons. These are not your grandpa’s toilet signs. small fee. The revenue is then shared with the designer.
122 beautiful users
CONSTRVCT is a digital platform for making and onto the fabric; the resulting print serves as both sewing The STRVCT collection of fantasy-inspired 3D-printed glass slipper—a magical, materials-defying object that
sharing fashion designs. Mary Huang and Jenna Fizel pattern and printed textile. Digital textile printing is shoes explores the potential of 3D printing to only she could wear. The Daphne series (above) refers
set out to create a set of 3D tools that users can easily relatively eco-friendly, because most of the dye locks into create designed objects custom-fitted to the user’s to a lovely nymph who, according to Greek mythology,
access online. Combining techniques from architecture, the fabric and so does not enter into wastewater. To use measurements. 3D-printed nylon can produce forms turned into a laurel tree in order to escape the predatory
animation, and industrial design, the software maps a 3D CONSTRVCT’s complete set of e-commerce features, that are delicate in appearance, light in weight, and advances of the god Apollo. The shoes’ patent-leather
model of a garment onto fabric to be cut and sewn. The visit continuumfashion.com and create a user account. remarkably strong. Built from a network of triangulated inner sole and synthetic rubber coating on the bottom
user selects an image or repeating pattern that maps segments, the transparent pump recalls Cinderella’s surface make them wearable.
126 beautiful users
glossary
People spark objects to life. users, no longer
users speak
hidden in plain sight, are increasingly dynamic
agents, taking on new roles as contributors and
producers themselves. As indicated by the rising
interest in self-publishing, 3d printing, and
company A
designs the joints personal manufacturing, users have transformed
from passive recipients into proactive makers.
The figure of the user has evolved ideas that facilitate design experiences.
customer F designer B since the late nineteenth century, when Focusing on the trajectory of the user in
put everything together designs a component the industrial revolution began bringing design discourse, the following glossary
design into countless modern households, looks at how people have engaged in the
enabling mass production to abet mass design process and what languages have
consumption. The social movements served to describe this process. It compiles
prevalent in the 1960s and 1970s sprang a selection of common terms, each with its
up in part to critique the standardization own history and meaning, in order to map
of commodity culture, whereas the 1990s the critical terrain of design’s vocabulary.
saw rising interest in customization and a Design terminology leaves a time
mister E architect C preoccupation with individual expression, stamp on a continually developing field.
designs the connections designs the frame
fostering new types of creative agency. The words designers use illuminate the
The reforms and uprisings of the intentions and results of their practice.
past century laid the groundwork for Exploring the roots of this vocabulary
miss D design’s current frameworks of public can serve as a starting point or reference
designs another component participation, including hacking, open tool for users and designers to formulate,
systems, and networks. Historical markers challenge, enhance, and compare their
like these confront the ways we continue respective views and assumptions,
to revise and construct the category of the prompting new ways to conceive the
user, who remains a critical component in relationships among objects and humans.
the endlessly shifting parameters of design. Designers—despite the shifting beats of
Regardless of the varying objectives history—can mediate broader cultural
and circumstances that frame and social experiences, going well beyond
contemporary design practices, there is considerations of aesthetics to explore
renewed concern today for collaboration and transform systems of power, feedback,
and collective action around shared and communication.
139 notes
Economy: Work Is Theatre and Every Business a Stage, Goods and McLuhan, Marshall, and Barrington Nevitt. Take Today: The 9. Henry Dreyfuss, The Measure of Man: Human Factors in Design
Services Are No Longer Enough. Boston: Harvard Business School Executive as Dropout. New York: Harcourt Brace Jovanovich, (New York: Whitney Library of Design, 1966).
Press, 1999. 1972. 10. Mary McLeod, “‘Architecture or Revolution’: Taylorism,
Toffler, Alvin. The Third Wave. New York: Morrow, 1980. Technocracy and Social Change,” Art Journal 43, no. 2 (1983):
Hacking 132–47.
De Certeau, Michel. The Practice of Everyday Life. Berkeley: Tinkering 11. Ernst Neufert, Bauentwurfslehre (Berlin: Bauwelt-Verlag,
University of California Press, 1984. Ammer, Christine. The American Heritage Dictionary of Idioms. 1938).
Rajagopal, Avinash. Hacking Design. New York: Cooper Hewitt, Boston: Houghton Mifflin, 1997. 463. 12. Nader Vossoughian, “Standardization Reconsidered:
Smithsonian Design Museum, 2013. Normierung in and after Ernst Neufert’s Bauentwurfslehre (1936),”
Universal Design Grey Room 54 (Winter 2014): 34–55.
Human-Centered Design Steinfeld, Edward, Steven Schroeder, James Duncan, 13. Toby Lester, Da Vinci’s Ghost: Genius, Obsession, and How
IDEO. Human-Centered Design Toolkit. Second ed. 2009. http:// Rolf Faste, Deborah Chollett, Marilyn Bishop, Peter Wirth, Leonardo Created the World in His Image (New York: Free Press,
www.ideo.com/work/human-centered-design-toolkit/. and Paul Cardell. Access to the Built Environment: A Review 2012).
Rouse, William B. Explorations of Human-Centered Design. of Literature. Washington, DC: U.S. Department of Housing 14. Francis de N. Schroeder, Anatomy for Interior Designers
Hoboken, NJ: John Wiley & Sons, 2007. and Urban Development, 1979. https://archive.org/details/ (New York: Whitney Publications, 1948). Repetto’s drawings also
accesstothebuilt003372mbp. appear in J. Gordon Lippincott, Design for Business (Chicago: Paul
Interaction Design Lidwell, William, Kritina Holden, and Jill Butler. Universal Theobald, 1947).
Dunne, Anthony. Hertzian Tales: Electronic Products, Aesthetic Principles of Design. Gloucester, MA: Rockport Publishers, 2003. 15. Niels Diffrient with Brian Lutz, Confessions of a Generalist
Experience, and Critical Design. Cambridge, MA: MIT Press, 2005. Williamson, Beth. “Getting a Grip: Disability in American (Danbury, CT: Generalist Ink, 2012).
Laurel, Brenda. Computers as Theater. Second ed. Upper Saddle Industrial Design in the Late Twentieth Century.” Winterthur 16. Cara McCarty, Designs for Independent Living (New York:
River, NJ: Addison-Wesley, 2014. Portfolio 46, no. 4 (Winter 2012): 213–36. Museum of Modern Art, 1988), exhibition brochure.
Moggridge, Bill. Designing Interactions. Cambridge, MA: MIT 17. Bruce Hannah, Unlimited by Design, 1998, exhibition at
Press, 2007. User Cooper-Hewitt, National Design Museum, Smithsonian Institution.
Murray, Janet H. Inventing the Medium: Principles of Interaction Cupers, Kenny. Use Matters: An Alternative History of http://www.cooperhewitt.org/exhibitions/unlimited-design.
Design as a Cultural Practice. Cambridge, MA: MIT Press, 2012. Architecture. London: Routledge, 2013. 18. Bess Williamson, “Getting a Grip: Disability in American
Turoff, Murray, and Starr Roxanne Hiltz. The Network Nation: Lefebvre, Henri. The Production of Space. Oxford: Blackwell, Industrial Design of the Late Twentieth Century,” Winterthur
Human Communication via Computer. Cambridge, MA: MIT Press, 1991. Portfolio 46, no.4 (2013): 235.
1993. Mulcahy, Monica. “Designing the User/ Using the Design.” Social 19. John Harwood, The Interface: IBM and the Transformation
Studies of Science 31 (2002): 5–37. of Corporate Design, 1945–1976 (Minneapolis: University of
Interface Design Museum of Modern Art Archives, New York. Design for Use. Minnesota Press, 2011).
Harwood, John. The Interface: IBM and the Transformation Curatorial Exhibition File, Exh. # 258b. 20. Donald A. Norman, The Design of Everyday Things (New York:
of Corporate Design, 1945–1976. Minneapolis: University of Woolgar, Steve. “Configuring the User: The Case of Usability Basic Books, 1988).
Minnesota Press, 2011. Trials.” A Sociology of Monsters: Essays on Power, Technology, and 21. Brenda Laurel, Computers as Theater, 2nd ed. (Upper Saddle
Norman, Donald A. The Design of Everyday Things. New York: Domination. London: Routledge, 1991. River, NJ: Addison-Wesley, 2014), 2.
Basic Books, 1988. 22. Bill Moggridge, Designing Interactions (Cambridge, MA: MIT
User-Centered Design Press, 2007).
Maker Norman, Donald A. The Design of Everyday Things. New York: 23. B. Joseph Pine II and James H. Gilmore, The Experience
Anderson, Chris. Makers: The New Industrial Revolution. New Basic Books, 1988. Economy: Work Is Theatre and Every Business a Stage, Goods and
York: Crown Business, 2012. Plowman, Tim. “Ethnography and Critical Design Practice.” Services Are No Longer Enough (Boston: Harvard Business School
“Maker Faire: A Bit of History.” http://makerfaire.com/ Design Research. Edited by Brenda Laurel. Cambridge, MA: MIT Press, 1999).
makerfairehistory/. Press, 2003. 30–38. 24. Harry Heft, “Affordances and the Body: An Intentional Analysis
Sennett, Richard. The Craftsman. New Haven, CT: Yale Ulrich, Karl T., and Steven D. Eppinger. Product Design and of Gibson’s Ecological Approach to Visual Perception,” Journal for
University Press, 2008. Development. New York: McGraw-Hill, 2012. the Theory of Social Behavior 19, no. 1 (1989): 1–30.
25. Avinash Rajagopal, Hacking Design (New York: Cooper Hewitt,
Open-Source Design Smithsonian Design Museum, 2013).
Abel, Bas van, Lucas Evers, Roel Klaassen, and Peter Troxler. Notes | Essay | Designing for People 26. Mister Jalopy, “The Maker’s Bill of Rights,” Make 4 (October 28,
Open Design Now: Why Design Cannot Remain Exclusive. 1. Bill Moggridge, “What Is Design?” Lecture, Cooper Hewitt, 2005). http://archive.makezine.com/04/ownyourown/.
Amsterdam: BIS Publishers, 2011. Smithsonian Design Museum, 2011.
2. Arthur Pulos, American Design Ethic: A History of Industrial
Participation, Participatory Design Design to 1940 (Cambridge, MA: MIT Press, 1983).
Armstrong, Helen, and Zvezdana Stojmirovic. Participate: 3. Russell Flinchum, Henry Dreyfuss, Industrial Designer: The
Designing with User-Generated Content. New York: Princeton Man in the Brown Suit (New York: Cooper-Hewitt, National Design
Architectural Press, 2011. Museum, Smithsonian Institution and Rizzoli, 1997).
Bishop, Claire. Artificial Hells: Participatory Art and the Politics 4. Flinchum, 102.
of Spectatorship. New York: Verso, 2012. 5. Margalit Fox, “John E. Karlin, Who Led the Way to All-Digit
Bourdieu, Pierre. Outline of a Theory of Practice. Cambridge: Dialing, Dies at 94,” NYTimes.com, February 8, 2013, http://www.
Cambridge University Press, 1977. nytimes.com/2013/02/09/business/john-e-karlin-who-led-the-
Bourriaud, Nicholas. Relational Aesthetics. France: Les presses way-to-all-digit-dialing-dies-at-94.html?smid=pl-share.
du réel, 1998. 6. Flinchum, 100.
Carroll, John M. “Dimensions of Participation in Simon’s Design.” 7. Ellen Lupton, Mechanical Brides: Women and Machines from
Design Issues 22, no. 2 (2006): 3–18. Home to Office (New York: Cooper-Hewitt, National Design
Museum and Princeton Architectural Press, 1993).
Prosumer 8. Henry Dreyfuss, Designing for People (New York: Viking, 1955).
140 beautiful users
141
Access to the Built Environment, 136 consumer, 21–23, 131, 134, 135 Free Art and Technology (F.A.T.) Lab, 111–13 Judge, Benjamin, 82, 85 NikeID, 132 Sennett, Richard, 134
index
Acratherm Gauge, 94–95, 97 Continuum Fashion, 124–125 Free Universal Construction Kit, 111–13 Karlin, John E., 23 No Country for Old Men: Together Canes, 90–93 Silver, Jay, 122–123
Adapterz, LLC, 113 Cooper-Hewitt, 26 Frey, Daniel, 82, 85 Katz-Mayfield, Andy, 29, 62 Norman, Donald A., 134 Sims, Shawn, 111–113
additive manufacturing, 132 Corbusier, Le, 33 Frog Design, 131 Kelley, David and Tom, 133 Noun Project, 120, 121 Smart Design, 53–54, 105–107, 131
adhocracy, 130 Cornett, Marcel LeShell, 120–121 Frosta Z Coat Rack, 116–17 Keywords: A Vocabulary of Culture and Society, Stickney, Roland, 94–97
affordance, 29–30, 47, 130 Corning Museum of Glass, 46–51 FuckingCit, Trento, 120–21 131 OCHA Visual Information Unit, 120–121 Stowell, Davin, 52–53
Alice, 45 Craftsman, The, 134 fuseproject, 30–31, 58–59, 100–103 Kickstarter, 131 octametric brick, 25 STRiDA LT Bicycle, 2, 86–87
Allendorf, Stephen, 52, 53 Crate and Barrel, 70 O’Hanley, Harrison, 82, 85 STRVCT Shoes, 125
Amazon, 131 crowd funding, 131 Gafni, Izhar, 88–89 Lanzavecchia, Francesca, 90–93 Open Design Foundation, 135 Suri, Jane Fulton, 131
Americans with Disabilities Act (ADA), 136 crowdsourcing, 130, 131 Galton, Sir Francis, 130 Lanzavecchia + Wai, 90–93 open-source design, 30–31, 111, 135 survival form, 23
Anatomy for Interior Designers, 12–13, 24 Cupers, Kenny, 132 GE, 126–27 Laub, Jürgen, 52, 53 OpenStructures (OS), 31, 114, 128–129 Synaptic Lab, 111–113
anthropometrics, 24, 31 customer, 131, 134, 135 Gibson, James J., 130 Laurel, Brenda, 28 Orlan, 40 T
anthropometry, 130 customization, 129, 132 Gilbreth, Frank and Lillian, 133 Lee, Stuart Harvey, 62–65 Osgerby, Jay, 60–61 Take Today: The Executive as Dropout, 135
Apple Computer, 134 cyborg, 27 Gilmore, James H., 133 Lefebvre, Henri, 136 OXO, 52–53 Tak, Jung, 83
Architects’ Data, 10–11, 24, 33 GlassLab, 46–51 Leslie, Dr. Garthen, 126, 127 Taylor, Frederick Winslow, 133
Aros Window Air Conditioner, 126–127 Daniels, Eric, 98 Good Grips, 53 Leveraged Freedom Chair, 80–85 participatory design, 129, 132, 135 Taylorization, 24
Artek, 133 Darwin, Charles, 130 Goth Flatware, 67 Levin, Golan, 111–13 Partners & Spade, 62–65 Teague, Walter Dorwin, 22
Arts and Crafts, 134 Da Vinci, Leonardo, 8–9, 25 Gourmet Settings, 66–69 Lévi-Strauss, Claude, 131 Pateman, Carole, 132 Thingiverse, 77
As, Richard van, 27, 77 democratization, 132 GRiD Compass Laptop Computer, 28–29 LLC, Continuum, 83 personal manufacturing, 129 Third Wave, The, 135
AT&T, 22, 23 Design for Use, 136 GRiD Systems Corporation, 28–29 Local Projects, 108–109 Pettis, Valerie, 16–17 Thomas, Scott, 120
August Smart Lock, 30–31, 95, 100–103 Designing for People, 14–15, 24 Grima, Joseph, 130 Loewy, Raymond, 22 Pilgrim, Dianne, 26 Thoughtless Acts?, 131
authorship, 130, 135 Designing Interactions, 28–29 GRIT (Global Research Innovation and Lommée, Thomas, 31, 114, 128–29 Pivot Power Flexible Surge Protectors, 126 Tilley, Alvin R., 14–17, 20, 21, 23–26
Autoprogettazione, 133 Design Methods Group, 133 Technology), 80–85 Louis XIV, 39 Polaroid sx-70 camera, 25 Till, Jeremy, 132
Design of Everyday Things, The, 134 Gropius, Walter, 24 Lupton, Mary Jane, 27 Polyakov, Sofya, 120 tinkering, 134, 135
BamBam Prosthetic Limb, 78–79 Design Research Society, 133 GS Army Flatware, 69 Practice of Everyday Life, The, 134 Toffler, Alvin, 130, 135
Barber, Edward, 60–61 design thinking, 29, 132, 134, 136 Mahanti, Arjun, 120–121 Prado, Luis, 120–121 Transparent Tool, 31, 114, 115
Bardagjy, Joan, 25 Diana, Carla, 104–106 hacking, 30, 111, 116, 129, 134 Make, 30 Prime Studio, 62–65 Twitter, 131
Bardagjy, Joan C., 16–17, 26 Diffrient, Niels, 16–17, 25–26, 108 Harry’s Shaving, 29, 62–65 maker, 30, 111, 133–135 Princess phone, 25
Barry, Olivia, 71, 73 Diller Scofidio + Renfro, 118–119 HCD, 134 MakerBot Replicator 2 Desktop 3D Printer, 76 Princess Telephone, 23 UCB Pharmaceuticals, 54
Barthes’, Roland, 130 DIY, 133 Heft, Harry, 130 Maker Faire, 135 product semantics, 130 universal design, 26–27, 81, 136
Bauentwurfslehre, see Architects’ Data do-it-yourself, 30, 131, 133, 135 Heiberg, Jean, 22 Maker’s Bill of Rights, 30 prosumer, 135 user-centered design, 21, 134, 136
Bauhaus, 11, 24 Domus, 130 Henry Dreyfuss & Associates, 14–17, 20–22, MaKey MaKey, 122–123
Béhar, Yves, 30–31, 58–59, 100–103 Dougherty, Dale, 30 24, 26–27, 94–97 Making Do and Getting By, 131 Quirky, 126–127 Viemeister, Tucker, 52–53
Bell Labs, 22, 23 Downton, Peter, 133 Hermaphroditus, 39 MAP, 60–61 Vitruvius, 25
Bell Telephone Company, 22 Dracula, 42 Honeywell Round, 28, 95, 98 Mari, Enzo, 133 Raider, Jeff, 62 Vossoughian, Nader, 25
Bhend, Andreas, 31, 116–117 Dreyfuss, Henry, 14–15, 20–24, 28, 31, 94, Howard, Jesse, 31, 114–115 MAS Design Products, 86 Ransmeier, Leon, 46–51
Bill Moggridge, 28–29 95–98, 108 Howe, Jeff, 131 McCarty, Cara, 26 Ravi, 85 Wahl, Stephen, 52–53
Boatman, Edward, 120 Dunne, Anthony, 134 Huang, Mary, 124–125 McLuhan, Marshall, 135 relational aesthetics, 135 Wai, Hunn, 90–93
Bollini, Mario, 82, 85 human-centered design, 81, 134 Measure of Man, The, 21 Repetto, Nino, 12–13, 24–25 Wand, Assaf, 58
Borg Queen, 34, 35 Eames, Charles and Ray, 130 human engineering, 24, 133 Miessen, Markus, 132 rheumatoid arthritis, 54 Warby Parker, 29
Boym, Constantin, 66–69 Ebay, 131 human factors, 24, 31, 130–133 Ming Cycle, 86–87 Richardson, Adam, 130 Wentworth, Richard, 131
Boym, Laurene Leon, 66–69 École Spéciale d’Architecture, 27, 33 Humanscale, 16, 17, 25–26 MIT, 82, 85, 135 Richardson, Nicholas, 78–79 Western Electric Manufacturing Company, 22
Boym Studio, 66–69 Elmish, Nimrod, 88 Hunter Defense Technologies, 74–75 MIT Media Lab, 122 rincess, 24 Whole Earth Catalog, 133
Brand, Stewart, 133 Enabler, The, 18–19 Hybrid Flatware, 66–69 Model 302 Telephone, 22–24 Robohand Prosthetic Hand, 77 Wikipedia, 131
bricolage, bricoleur, 31, 131 ergonomics, 24, 33, 130, 133, 134 Model 500 Telephone, 22–24 Rolf A. Faste Foundation for Design Creativity, Williamson, Bess, 27
Brown, Tim, 133 Ericsson, 22 Iconathon, 120–21 Model G handset, 23 18–19 Williams, Raymond, 131
Eva Flatware, 71–73 IDEO, 56–57, 131–134 Modular Prosthetic Limb (MPL), 74–75 Roomba, 30, 104, 134 Wink, 126
Calahan, Michael, 52, 53 experience design, 29, 95, 130, 133, 136 I.G. Cardboard Technologies, 88–89 Modulor, 33 Roomba Cam, 118–119 Winter, Amos, 82–85
Candide Journal for Architectural Knowledge, 131 Experience Economy, The, 133 II, B. Joseph Pine, 133 Moggridge, Bill, 21, 28–31, 133 Rosenbaum, Eric, 122–123 Wired, 131
Carnegie Mellon University, 113 IKEA, 30, 116–17, 134 Moholy-Nagy, László, 136 Royal College of Art, 86
Carpentier, Thomas, 27, 32–45 Facebook, 131 Illinois Institute of Technology, 136 Mr. Fixit, 133 Russak, Stephen, 52–53 Yamazaki Tableware, 72
Carroll, John M., 135 Fadell, Tony, 99 Improvised Vacuum, 114–15 Museum of Modern Art, 26, 136
Carucci, Elinor, 55 Farber, Betsey, 52 interaction design, 28–29, 95, 130, 133–134 Sabi HOLD, 60–61 Zeisel, Eva, 71, 73
Certeau, Michel de, 134 Farber, Sam, 52 interface design, 27, 94–109, 130, 134 Narcissus, 43 Sabi THRIVE, 58–59 Zhuhai Technique Plastic Container Factory Co.,
Chermayeff, Serge, 136 Fast Company, 131 Iomai Needle-Free Vaccine Delivery, 56–57 National Design Museum, 26 Sahu, Panna Lal, 80–81, 84–85 62–65
Childs, Jake, 83 Faste, Rolf, 18, 19 Istanbul Design Biennial, 130 National Geographic, 75 Sanders, Mark, 2, 86–87 Zien, Jake, 126
Christie, Bryan, 75 Faste, Rolf A., 136 Izhar Cardboard Bike, 88–89 Neato Robotics Automatic Vacuum Cleaner, Savage Mind, The, 131
Cimzia Home Injection Experience, 54 FeinTechnik GmbH Eisfeld, 62–65 105, 107 Scalbert, Irénée, 131
co-creation, 131 Filson, John Benjamin, 98 Jobs, Steve, 134 Nest Labs, Inc., 98–99 Schaeper, Jochen, 62–65
co-design, 130, 131 Fischman, Josh, 75 Joe and Josephine, 14–15, 24–25 Nest Learning Thermostat, 28, 95, 98–99 Schroeder, Francis de N., 12–13, 24–25
Colonial Ghost Flatware, 68 Fizel, Jenna, 124–25 Johns Hopkins University Applied Physics Lab, Neufert, Ernst, 10–11, 24–25, 33 scientific management, 133 Page 88, water drop icon by
Conference on Design Methods, 133 Formosa, Daniel, 52–53 27, 74–75 Nevitt, Barrington, 135 Scolnik, Tish, 82–85 Edward Boatman, Noun Project
CONSTRVCT, 124, 125 Frank-Ratchye STUDIO for Creative Inquiry, 113 JoyLabz, 122–123 New Museum, 130 Search for Comfort and Efficiency, The, 133
Cooper Hewitt, Smithsonian Design Museum
Board of Trustees
15
6
1710
11
15
8
Elizabeth Ainslie Claudia Kotchka Honorary Trustees
19
Kurt Andersen Chairman Emeritus, Honorary
22
Novelist and Host, Studio 360, Harvey M. Krueger, Chairman Emeritus
Joan K. Davidson
Public Radio International Vice Chairman, Barclays Capital
Honorary
31
Carl Bass David Lubars °
°
33
Kenneth B. Miller
President and CEO of Autodesk Chairman and Chief Creative Officer of BBDO
North America and a Director of
Chairman Emeritus, Honorary
3 9
38
Scott Belsky
BBDO Worldwide
27°
Vice President of Products & Community
and Head of Behance at Adobe John Maeda Ex Officio 1330 25
Andy Berndt
Design Partner, Kleiner Perkins Caufield
& Byers
Smithsonian Institution
30
Vice President, Google and Founder of G. Wayne Clough, Secretary
Google Creative Lab Barbara A. Mandel, Chairman
Richard Kurin, Under Secretary for History, Art
Philanthropist
4°
Agnes C. Bourne, Vice President and Culture
13
Interior and Furniture Designer Nancy Marks, Vice Chairman
Caroline Baumann, Director
Nancy Marks Interiors/Philanthropist
Amita Chatterjee Cooper-Hewitt, National Design Museum
43
Philanthropist Margery Masinter
9
Michael R. Francis, Vice President
Philanthropist
900 CG
Chief Global Brand Officer, Henry R. Muñoz III
DreamWorks Animation Chairman of the Board of Directors and CEO, 17
Kell Muñoz Architects, Inc.
Marilyn F. Friedman
45°
Philanthropist/Design and Decorative
Arts Historian
Karen A. Phillips
Landscape Architect, Member of the New York 30°
City Planning Commission
Alice Gottesman
41
Philanthropist Abraham N. Reichental
President and Chief Executive Officer,
Eric A. Green, Treasurer
3D Systems, Inc.
Investment Banking
David Rockwell
Paul Herzan, Chairman Emeritus
Founder & CEO, Rockwell Group
Philanthropist
Lisa S. Roberts, Vice President
John R. Hoke III
Designer/Philanthropist 490
Vice President Design, Nike, Inc.
140
Ruth Ann Stewart
80
Jon C. Iwata
Clinical Professor of Public Policy,
Senior Vice President, Marketing and
Robert F. Wagner Graduate School of Public
Communications, IBM Corporation
Service, New York University
Madeleine Rudin Johnson
Esme Usdan
Executive Vice President, Rudin Management
Interior Designer/Philanthropist
26° 21°
40
Francine S. Kittredge
Todd Waterbury
Former Managing Director, Neuberger Berman
Executive Creative Director and Senior Vice
President, Target Corporation
11
14
21
22
36
31°31°