With the advent of womxn building their own in society, how might we create enabling environments for them to thrive?
I had a chat with the Head of Innovation and Transformation with our engineering partner about introducing externalities into a traditional work environment, in this instance, it was exploring the benefits of bringing a child into corporate. This got me thinking about a more heated topic.
This scribbling of thougths aims to explore how to release talent and creativity of women in workspaces through gender-neutral environments.
Decoding: language as a device to create a new identity
“Women” and “woman” originate from Old English, where “man” was used as a gender fluid pronoun much like “one” and “they” have turned into today. However the feature of “man” or “men” still creates a notion of being a subset in society. A growing trend of of women-oriented organisations around the world are taking on a new way of using words to give womxn ownership of their role in society and fast closing the gender gap.
As of late, many woman-oriented organizations are taking on alternate spellings of the words “woman” and “women” in efforts to be more inclusive. “Womyn” and “womxn” are two of the most commonly used substitutes to avoid using the suffix “-men” at the end of the term, but others like “wimmin,” “wimyn,” and “womin” are also sometimes used.
This presents an increasing insight into the power of independence and being recognised as an autonomous presence in society, creating, making that which was not there and with it the independence and strength to define.
Trying to thrive in circumstances that were not designed for womxn
I have chats with womxn daily and learn of the frustration resulting from womxn trying to assimilate;
- Through language — pronunciation and the ability to articulate without features of sexism or patriarchy in the workplace,
- Through recreational outfits — the notion of womxn needing to attend every social occasion to get ahead,
- Through ‘social order’ — the nuance that a womxn’s head will not be higher than that of the man,
- Through vulnerability — in many cases showing signs of weakness to advance in situations where this is not the case
A push for a more effective model
The biggest suggestion coming from these chats was the need for ‘a safe space’ that does not conform to social nuances, a defined space that weather any discriminations and ineptitudes, a place where womxn can be; as competitive, as liberal, as expressive,
Let’s expand on this idea of ‘a safe space’.
We are seeing a democratising of opportunities and work through independent labour and employment. Couple this with the advent of smart-startups, freelancers, the gig economy and a rising mass of independents, the above scenario is suggestive that co-working spaces are safe havens for the upstarts.
Co-working is a model empowering to the upstarts mentioned above, by affording them depth and latitude to establish as businesses that can compete openly with rationed resource. Perhaps more casual and fluid, these spaces still exhibit the same prejudice as formal, corporate environments.
How might we re-imagine a co-working space tailored for womxn?
Some science behind a womxn-only co-working space
The rationale for this may ultimately come down to hormones — stress hormones such as cortisol, that is.
A recent study by Indiana University researchers found that “token” womxn in male-dominated offices exhibited chronically unhealthy levels of cortisol. Previous studies have also shown that male-dominated workplaces can trigger social isolation, not to mention the potential for sexual harassment or stressful interpersonal interactions that can lead self-doubt.
It wouldn’t be a big stretch to imagine that some co-working spaces out there may have this kind of atmosphere.
Imagining a womxn-owned and led co-working space
- An empathetic work environment with aesthetics to complement the subtleties of womxn,
- Organic ways of focused networking and seeking mentorship from womxn without bias and the male banter often found in work environments,
- Inspire and rejuvenate womxn via a sense of ownership and independence from another being,
This was a glimpse of a small thought on inclusive & enabling spaces and am hoping to explore this topic a bit more through more facts- and evidence-based learning by using human-centred principles to push the needle for healthier work spaces.
What is the idea of cultural intelligence?
We start by defining what cultural intelligence is not. It is not: something derived from clever marketing tools; an myriad of digital insights that inform marketing practices; a device that is on standby and called on when needed.
We begin by understanding cultural intelligence as the air that brings life to humans, the core of what informs daily human decisions, an underlying sense of connectedness and belonging innately placed before the idea of Maslow’s Hierarchy of Needs creeps into an adolescent youth on their path to existential inquiry.
Cultural intelligence is the idea that culture inherently is and of itself a sentient being, a living, breathing thing, in other words human; one with thoughts, ideas and basic survival instincts. To push the envelope, the idea of its own existence in the broader category of other social nuances.
Cultural insights is a more passive and evasive stance in understanding the makeup of a tribe.
Consider this, Tim Brown, CEO of global design firm IDEO advocates for a new model of living, the circular economy – the need to move away from linear movement of raw materials along an assembly line to a more distributed and democratic model of bending the assembly line into a circular flow where the output of the system now informs how the system is built. The notion that people comes before process.
This is not a new idea when one traces the harmony of man and nature, something very characteristic of indigenous tribes in Afrika. Intelligence speaks to the holistic need for change and balancing, insights is represented in the change process.
To expand on the idea of cultural intelligence, let’s take a closer look at indigenous knowledge systems, a more digestible and pragmatic way to understand it.
Indigenous Knowledge Systems
Indigenous knowledge is the local knowledge – knowledge that is unique to a given culture or society. Indigenous knowledge contrasts with the international knowledge system generated by universities, research institutions and private firms. It is the basis for local-level decision making in agriculture, health care, food preparation, education: natural resource management, and a host of other activities in rural communities.
Flavier. De Jesus and Navarro (1995:10) state that:
Indigenous knowledge is the information base for a society. which facilitates communication and decision-making. Indigenous information systems are dynamic. and are continually influenced by internal creativity and experimentation as well as by contact with external systems.
To propose a new idea of design thinking re-framed for Afrika appeals to the former stance of internal creativity and experimentation. By design, design thinking prompts the ‘innateness’ to surface. Afrikan design thinking means reverting back to dynamic communal structures and nuances and interrogate those means to which we can interpret the world and its problems.
With design firms such as IDEO and Frog Design, they have had the mileage in producing methodologies that systematically find themselves adopted into similar societies and externalities, offering a plug-and-play approach to design thinking.
Reframing for Afrika means beginning with the end in mind, starting with the understanding that systems change in Afrika rests with the information base from indigenous rural areas like Sauri, Kenya; Adet, Ethiopia; Chibuto, Mozambique and how these knowledge reserves play themselves out and inform the rural, peri-urban and urban migrant as they carry them into urban spaces.
Reframing urban dilemmas emphatically using peri-rural intelligence over insight.
There is keen debate amongst indigenous communities, government officials, public negotiators and academic commentators alike over whether intellectual property rights are appropriate for the preservation and legal protection of traditional cultural expressions. These debates need to be understood in relation to the intrinsic nature of traditional cultural expressions, and how they carry with them ‘shared, symbolic meanings, which may represent for a community a link with the sacred…its history, or an attribute of its identity’
In reframing design thinking for Afrika we begin with the idea that cultures, inherently carry with them a sense of expressions and being. To this end, we employ devices as empathy and resign preconceived notions of systems challenges in communal structures.
How might we preserve Afrikan traditional systems? How might we use cultural systems thinking to inform design thinking?
Mancala is one of oldest games in the world, dating back thousands of years. Pits have been found carved into the roofs of ancient Egyptian tombs in Luxor and Thebes.
How might we build a culture for Afrikan design thinking?
- Isintu (empathy)Design and innovation are geared to solving problems, problems experienced by humans.
Derived from Ubuntu, isintu suggests consistent and genuine human values being a part of everyday life gathered from “umthombo”, the essence of being human.
- Context driven learningMany tools are used by design thinking practitioners locally. While functional, how many of those tools have been informed by indigenous knowledge systems?
The idea of a deep, native narrative creeps up in the learning. Learning from folklore practice and oral storytelling and charging this into the facilitation.
- Content driven ideationAs suggested by the context driven learning point above, practitioners ought to move into a space of iterative content ideation, the aim of creating unique design tools and innovation methodologies.
- “Cultural misappropriation”Although counterintuitive to the main idea carried by this piece, cultural appropriation suggest being unapologetic and disruptive jeering of cultural intelligence in design practice. Instead of using insights and layering them onto an appropriate medium that advertising and marketing types place on campaigns (ready-placed frameworks), a deliberate celebration and highlighting of innate cultural qualities needs to surface.
The idea of Afrika with a “K” and not a “C”
- Deep dives and immersionDriving a culture that all are ethnographers, that every team member once given enough latitude can relate to a situation and personalities and not treating the challenge from a passive stance.
Mindfulness, that every moment presents an opportunity for observation and learning.
- GamificationUsing Afrikan games as a point of assimilating and expounding on new approaches to design and innovation.
What are the impacts of reframing for Afrika?
Seeking first to be understood and then to understand
For the better part of this thought piece, reference to the marketing and advertising arena is made, not to take away from its impact however to highlight approaches to problem-solving where corporate Afrika relies heavily to solve problems of understanding people to gain market traction.
Design thinking over-emphasizes the human.
Reframing design thinking places a deeper need to understand the human, wholly, from a point of their decision-making.
With an invigorated approach, this contextual with content backed by evidence and facts-based intelligence and the creative confidence to implement to problems, Afrikan design thinking is a host to new innovations.
Original source: https://kwesefied.kwese.com/article/open-africa-initiative-championing-borderless-africa
If you’re a regular around here you know we talk often about these African borders that were decided for us.
Quick history lesson. In 1884/84 at the Berlin Conference, the world’s super powers decided to slice Africa up like a pie leaving us almost irreconcileably disconnected. The map of Africa as we know it was decided there – without our input.
Fast forward to 2017, in an attempt to undo the result of that conference in an inventive way a group of young African Global Shapers from the city of Durban (South Africa) are taking on the mammoth task of trying to “Open Africa”. This agreement was reached at the #ShapingAfrica conversations at the 2017 World Economic Forum on Africa.
The Global Shapers Community is made up of city-based Hubs led by young leaders between 20 and 30 years old who want to develop their leadership potential towards serving society. To that end, Hubs undertake local projects to improve their communities. When you consider that 50% of the world’s population is under the age of 27, you realise how crucial it is that the youth have a voice and presence in the world’s decision-making.
The Global Shapers Durban hub realised that intra-Africa trade (trade between Africans) accounts for only 14% of Africa’s total trade and are aiming to fix that by paving the way for more Intra-Africa collaboration on trade, governance and sharing of talent. The Open Africa initiative will therefore challenge policy makers on the following issues:
- Infrastructure projects that prioritise collaboration between governments on road transport networks
- Reduction of red tape that results in border delays and hinders movement across borders,
- Championing African competitive advantages across different African markets for goods and services
These young leaders have several end-goals in bringing out the spirit of “Ubuntu” shared by Africans and help make practical the coming into force of the African Continental Free Trade Area (CFTA). They hope to create a platform for sharing values and understanding of the different African socio-economic, cultural values and aspirations among the youth. As well as gain a better understanding of the challenges toward free trade-related movement in Africa to enable evidence-based advocacy. Lastly, to create an ecosystem for African youth to work collectively in identifying solutions to intra-Africa trade issues while recognising the challenges that face us all.
To learn exactly HOW this group aims to achieve all this and stay informed of their comings and goings, visit their website or alternatively follow the initative on Facebook and Twitter on
@OpenAfricaGS and @GlobalShapers respectively. #Kwesefied
Why is prototyping so important and how does it fit in to the design thinkers tool kit? In this short read David Kester looks at some recent projects he has observed and been involved in and shows how invaluable it is to get prototyping early and then keep iterating to build your minimum viable product (MVP). From a floating school to a sexual health service the prototype proves key to de-risking projects.
Prototyping in design is often much misunderstood.
A few weeks ago I had the great pleasure to interview the Nigerian architect, Kunle Adeyeme. He is a deeply thoughtful, talented and hugely experienced architect tutored under the great Rem Koolhas at OMA and now running his own highly successful practice NLE in Holland. One of his areas of research and investigation has been in the field of amphibious buildings.
Just before our interview on stage at What Design Can Do, two interesting things happened: Kunle was awarded a Silver Lion for his new design for a floating school at the Venice Biennale. The original prototype that he built with the local Nigerian community in Makoko was destroyed in a storm. The fact that it had always been conceived as a prototype and had been a wonderfully successful living experiment was completely missed in the media.
Kunle Adeyeme’s original prototype Floating School on the left and the developed scale sconecpt at the Venice Biennale.
Prototypes and what some call “pretotypes” (very early concepts for user testing) are the vital stock-in-trade of a design thinker.
When a telecoms company came to us recently we worked with product teams to develop pretotypes in the form of quick storyboards. They were developed following customer observational research and provided the syndicate groups with a super-fast (2 hour) method of establishing concepts they could test in “cognitive walk-throughs” with end-users.
Quick prototypes developed to test, iterate and also eliminate early concepts with end-users
One of my colleagues (who I admire greatly for his work in health design) Chris Howroyd, has deployed this sort of fast, quick and constant prototyping to develop, test and bring to market on of the most successful new health services for the treatment of sexually transmitted disease. It’s a 24 hour self-testing service called SH:24. The programme is re-writing the script for these services in the UK. A comparison of the early storyboards and the current operating model is a powerful demonstration of the value of prototypes, and constant iteration in order to bring to market minimum viable products (MVPs).
Early prototypes and the user journey for the sexual health service SH:24
Pearson Lloyd’s design for an NHS commode on display at the Design Museum alongside one of the early prototypes
Pretotyping and prototyping has its origins in industrial design. My good friends at Pearson Lloyd created endless prototypes in order to develop the multi award-winning NHS Commode in a project Chris and I ran at the Design Council. The techniques of prototyping have been adapted by interaction designers and service designers. They are there to be used and incorporated by innovators and are an essential tool for design thinkers. The benefits are huge: designing around the user; aligning multidisciplinary teams around evolving ideas, and that great design thinking mantra…”failing early and cheap” so that success comes with minimum risk.
Original article: https://mediaculturesociety.org/2013/01/29/does-technology-impact-culture/
In today’s technology driven world, people expect to have the means to communicate with others at any given moment. The ability to create relationships based solely on mutual understandings and shared common interests have fed the social media phenomena. In the past, people were able to get together physically and discuss concerns or share thoughts. However public spheres are changing from gathering in coffee shops to meeting online through forums and other social media platforms. As read in Mediated Society – a critical sociology of media, the prospective of critical sociology, the focus is on how media practices impact what we see as normal and affects society’s values. In today’s world, the easy access to technology creates the situation that, when you look around, people are often using smartphones or using their computers to check on what’s happening in the world around them, providing a feeling of connectedness. Does this ease of connection to the online world hold significant consequences on culture?
Let’s start by defining culture. According to Georg Simmel, “objective culture is seen as a ‘thing’ and subjective culture as its ‘unique experience’ (Jackson, J. D., Neilsen, G, and Hsu, Yon, 2011, p. 10)”. Culture is experienced, shared and adopted.
According to Digital Nation, a 90-minute PBS documentary which aired on Feb. 10, 2010, the purpose of the program was: “to examine the risks and possibilities, myths and realities presented by the new digital culture we all inhabit”. One of the many insights from this documentary is that in this wired world, people living in the same house or workplace can all be looking at different screens and communicating with different people. This changes how people interact with each other, as well as where our public spheres may be found (online instead of discussions at the dining room table or in meetings at work, perhaps?). Most concerning to me is the suggestion that multi-tasking online is not to be applauded but to be concerned because of the impact on cognitive abilities.
Sherry Turkle, is an Abby Rockefeller Mauzé Professor in the Program of Science, Technology, and Society at MIT and is considered to be a distinguished scholar in the area of how technology influences human identity to understand what happens when mind meets machine.
As seen in TED talks, Turkle shares her thoughts on technology’s impact. She says, “As we expect more from technology; we start to expect less from each other”. She suggests we often hide by sending messages electronically rather than discussing difficult issues in person. This is because of the belief that online is less personal and the effort to connect on a human level and is reduced by sending messages online rather than in person. Why? If by talking about the issues or concerns in person, discussions are open up where feelings, thoughts, ideas are exposed to be shared and probed. Turkle suggests we can hide from each other even though we are more electronically connected. She points out we’re not building relationships with each other, but building relationship with technology as if it’s a real thing. Turkle explains that technology doesn’t empathize, and doesn’t experience death or disappointments. Instead we select to use technology when we feel vulnerable and technology provides us with an illusion of comfort and of being in control.
Turkle says, “We’re lonely, but we’re afraid of intimacy. And so from social networks to sociable robots, we’re designing technologies that will give us the illusion of companionship without the demands of friendship.” Does this approach of using technology have an impact on relationships?
It’s important that we look at the reasons for the messages we send. Berger’s research looked at the thought processes people go through in order to produce the messages they speak. Berger concluded, “Most social interaction is a goal-driven; we have reasons for saying what we say” (Griffen, 2012. p. 130). With the speed of technology and pace for which many people respond, do they really consider and think through the potential consequences of what they are conveying?
As discussed during our class, Always Already New, the media history and the data of Culture (Gitelman, 2006, p. 59), “Publics are comprised as users, but not all users are entitled or constitutive members of the public sphere.” This can divide more than connect people based on their ability with technology, choice in being connected 24/7, skill in written communications and use of tone in writing.
Constant communication through use of technology is changing the way people think of themselves and how they communicate. They can get attention, always be heard, and never have to be alone. Connecting electronically can also lead to isolation. They often don’t allow the time to think or listen to each other with the constant sensory stimulus of texts, tweets, Facebook updates, emails and more. Understanding the prospective of critical sociology and how media practices impact what is seen as normal affects society’s values. The ease of connecting through technology and communicating online does have an impact on culture locally and globally as more and more people choose to communicate online instead of in person.
Original article: https://design.google/library/building-better-design-culture/
Designers are special creatures. Mike Buzzard understands this, and for the last four years he’s been working to make sure Google develops a strong appreciation for design and designers. His mission at Google is ambitious: to foster a world-class UX culture through cross-functional product development, internal operations, programs, education, talent recruitment, and perhaps most impactfully, by improving how Google defines roles and performance expectations for designers. This is an endless exercise in refinement, revision, and keen observation. So how does one become an unapologetic design evangelist in a world where engineering reigns supreme? It helps when you yourself are an edge case: a high-school dropout, an entrepreneur, and a self-taught developer who loves design. Buzzard has learned a number of lessons on his unconventional path to becoming a design lead—ideas helpful not only to understanding the rising stature of design at Google, but also for fostering excellent design vibes on any team.
Amber Bravo: Tell us a bit about how you came to work at Google?
Mike Buzzard: I started out in the ’90s as a self-taught developer with a strong interest in design. I worked for an architecture firm and built a bunch of internal, internet-based tools. Then I moved to San Francisco in 2000, and worked at a startup while also building a freelance practice. I ended up co-founding a design and development studio called Cuban Council. We ran the company for about 10 years out of San Francisco, New York, and Portland. We did a lot of identity, branding—logos for Facebook and Quora at one point—and content management tools for startups and more established entities like NASA, Francis Ford Coppola, BBC, Evernote, et cetera. Google was a client for about seven years, which is how we eventually got acquired to work on Google Plus.
AB: What inspired you to get involved in fostering the UX community at Google?
MB: Well, I had immediate design needs for Google Plus, so I had that motivation. But I also joined the hiring committee and gained a top-down view on how we source, qualify, and assess design talent, which put me in unique position to start bolstering the design disciplines. I also had an existing network of UX leads across Google that I’d meet with to understand their needs and perspective. I realized that by changing the documentation you can actually reframe the way the whole company views a discipline. In 2012, there were a lot of design generalists at Google, and we were trying to diversify and enhance our design capabilities by hiring a lot of specialists. It’s one thing to source specialists, but it’s completely another to build confidence that they’ll be successful. That requires making sure the company understands who they are and what they do, and how to sequence the various disciplines successfully in the product design process.
AB: How has this work evolved over the years?
MB: Google is an engineering-driven company, and I think it’s important that those roots remain. However, I do think Google can become more design oriented. Signals of that would be in the vocabulary engineers use when talking to designers about their work, or even just a top-down, bottom-up sort of comfort in understanding how design influences the company’s products and culture. To me that influence should be visible from the outside. Things like the Google rebrand or Material Design, for example. It’s a slow transition, but it’s clear that the company is definitely moving in this direction. The number of people working in UX at Google has multiplied over the last 5 years—that magnitude of growth is partly why we created a team dedicated to UX community and culture, to ensure the health and success of UX across all of Google.
AB: What types of designers thrive at Google?
MB: I think designers who are interested in creating products from top-to-bottom, who understand the importance of how something functions as well as how it looks and feels. Designers working in brand marketing are often responsible for making sure that brand, content, and functionality goals are met, but often don’t receive the same level of rigor and testing that Google requires. At Google, it’s not uncommon to be working on something that will affect hundreds of millions of people, so there’s an inherent responsibility that you need to get the design as close to “right” as possible before you push it out the door. A lot of people who come in actually appreciate that rigor, that level of ownership and accountability. People with an agency background tend to be great listeners with a strong sense of self-awareness because they have to be—every client is different and their needs are different. That’s a really translatable characteristic that can serve the designer well at Google.
AB: At Google, all designers are hired and evaluated based on the same universal criteria: impact. How does that fit into fostering the company’s design culture?
MB: The idea is that as we hire into roles and grow both the diversity of disciplines as well as the diversity of experience, it will feed back into improving the broad culture of design at Google. We started with scaffolding, or a framework—first aiming to simplify by focusing on the essentials, and then we focused on refining and evolving rubrics. This helps designers better understand and communicate: What is hard about the work I do? What did I do to make a difference or what would have happened if I wasn’t there, and what impact has my work had? When you have peers from different job functions evaluating each other, they’re absorbing this information, and it influences how they think about design roles within the company.
AB: Having a strong criteria is great, but is there a level where feedback and self-assessment has to be tailored to each team?
MB: Really good managers will provide tools and education for their team, they’ll create clear language which people can evaluate themselves and their peers against. It’s important to have a framework for people to tell their story, to help others understand and appreciate the work that they do, especially with the broad range of team compositions. We aren’t doing this work in a vacuum. We observe design promotion committees, we help compose them, we also collect heaps of feedback from pools of reviewers ranging from specialists to leadership. We’re doing everything we can to make sure that people understand their job profiles and criteria for advancement, by routinely providing resources and training. It’s an end-to-end, ongoing process.
AB: Measuring your personal success or job impact doesn’t necessarily require that the project or product you worked on was successful, right?
MB: It can be an impact on a project. It can be an impact on a product. It can be an impact on a team or on Google at large. A good example of impact that isn’t necessarily quantifiable, or measurable, or launch-related could be something like building tools for automation, or identifying common problems that designers have and creating programs to address them. It might be very project specific, and if it is, and everybody adopts that program or process, then it just made the whole team more efficient in their work.
AB: What’s the key to attracting talent at different levels and from different backgrounds?
MB: When we look at the slotting of a discipline at a particular level, we are careful to consider all of the data we have available to us. We look at a person’s former or current role and assess his or her level of influence, leadership, and impact. It’s very important that they will be able to meet or exceed the expectations of the teams when they join. At the more junior levels, we’re looking for opportunities for designers to feel their individual contribution helps them develop a strong sense of purpose and self-awareness. It’s up to them to deliver the value, not just the assets, but younger designers aren’t often wired that way. You’ve got to put yourself in meetings where there’s something to be gained or learned—you can’t always wait for invitations, especially when you have a curiosity or an idea or a concern about the larger product work that you’re contributing to. We look for the hint of an entrepreneurial spirit.
AB: What do you think is uniquely challenging about evaluating design success at Google?
MB: Google is big and has so many different teams. Part of developing criteria for measuring success is to not overly prescribe based on the norm. I’m a great example—I’m a one-off at Google. The ladder has to be general enough to allow me to show how I have impact and demonstrate leadership, yet at the same time it can’t be too vague. We have to be considerate of all the different use cases, and it’s not something we finish and then just walk away from. As Google’s understanding and appreciation of design matures, we need to make sure that the documentation that sets those expectations is representative of the culture that we want. We’re constantly collecting feedback. Some of it’s very small and detailed, and some of it is very philosophical. We’ve come up with different models and frameworks for testing the concepts, profiles, and criteria that we produce. And we regularly observe committees to see how these materials are considered and applied in practice.
AB: In the UX ladder you talk about many qualities of leadership—driving an idea to fruition, building consensus, being a thought leader—can you be a strong leader and be deficient in one of those things?
MB: Leadership manifests itself in many ways. I wouldn’t say that you have to check all the boxes to be a good leader. You could go very deep in one area that has significant impact. As many people progress in their career, they move into the management realm, often times circumstantially. If you have more than eight people reporting to you and you’re not spending more time managing the careers and efficacy of those individuals, you’re doing a disservice to the team and probably the product. In the agency world, this is similar to transitioning from a designer to a creative director, where the challenge is to detach yourself from the details of the design execution and essentially learn to design through others. A “lead” is a person who’s designing through others as they scale themselves. And a lot of the great managers will build a team that’s so high-functioning that they can then focus their time more strategically. When this happens, the manager typically begins to think more logistically about how the team is operating and functioning, focusing on things such as resource allocation, product strategy, and cross-functional partnerships. For example, I know one director who thinks very carefully about personality pairing in trying to identify who’s going to be the UX lead that partners with such and such product manager. What keeps that person up at night is not the pixel accuracy or the simplification of a flow, as much as it is the level of healthy collaboration of the team with its partners. People have to be acutely aware of these organizational traits if they’re going to successfully grow as a managing leader.
AB: What advice would you give to a young designer interested in working at Google?
MB: Excellent design skills are table stakes, communication and presentation skills are also extremely important. If a designer comes into a role and they’re the only designer on the team, they need to be able to confidently express their ideas, rationalize and justify their design decisions, and understand how to align both user and business goals while being mindful of engineering constraints and opportunities. If they’re not comfortable with that level of engagement, then they might consider working on a larger team where they’ll get more mentoring and structure to grow.
AB: How does pedagogy play into this?
MB: Investing in education is about helping people find their passion. In 2013, I started visiting design schools just to see what kind of events we were running and the message Google was sending. Immediately I recognized that there was room for improvement. We were sending mixed messages, and students were leaving school not knowing how they wanted to apply and expand their training or what type of organization would be the best first step down their career path. So a lot of my involvement with Google’s university recruiting programs has been spent trying to help on both sides—to help students develop a better understanding of what type of company, role, and work would provide them with the best opportunity to thrive—and to help Google set clear expectations that help students self-qualify more confidently.
AB: How much of your work is about ensuring general happiness?
MB: We want to make sure that Google is a great place for design and designers, whether you’re a 15-year veteran designer coming from a small brand studio or an entrepreneurial junior designer. We want people to be comfortable on a product team. That’s a big ask. There’s often a sort of a reboot with somebody’s personal identity when they come to Google. They need to try to figure out how to apply their skills within a massive product organization.
To me, this work is most important because it helps designers understand where they exist in the world of Google. They have specific criteria to measure themselves against and can align their day-to-day work with those expectations. Equally important is the definition of what is expected of designers within Google to people in functions other than design. I want it to be a healthy place for designers to grow and evolve. Not everybody is going to climb all the way up the ladder, nor do they all want to, but everyone should have the opportunity to grow, whether it be intentionally developing specific skills, assuming more ownership over a product, or leading a team. I just want to see happy, successful, healthy designers and design culture. I can’t think of another way for me to have a more widespread effect than in doing this kind of work.
Material is the metaphor
The metaphor of material defines the relationship between space and motion. The idea is that the technology is inspired by paper and ink and is utilized to facilitate creativity and innovation. Surfaces and edges provide familiar visual cues that allow users to quickly understand the technology beyond the physical world.
Bold, graphic, intentional
Elements and components such as grids, typography, color, and imagery are not only visually pleasing, but also create a sense of hierarchy, meaning, and focus. Emphasis on different actions and components create a visual guide for users.
Motion provides meaning
Motion allows the user to draw a parallel between what they see on the screen and in real life. By providing both feedback and familiarity, this allows the user to fully immerse him or herself into unfamiliar technology. Motion contains consistency and continuity in addition to giving users additional subconscious information about objects and transformations.
Original article: http://www.designindaba.com/articles/creative-work/world’s-cheapest-solar-lamp
For the millions without electricity in Africa, basic lighting remains a luxury. Kerosene lamps are expensive. Candles and fires are hazardous and ultimately affects a household’s air quality. Manchester-based design consultancy Inventid’s recent development of what they are claiming is the world’s cheapest solar light could present a solution for this ongoing struggle.
Developed in collaboration with Chinese manufacturer Yingli, the hand-sized lamps retail for around about R63 ($5) and are able to stay lit for up to eight hours when fully charged. Called the SM100 solar light, it is reportedly twice as bright as kerosene lamps and features strap slots so that it can be used as a head-torch or easily strapped to a bicycle.
The lamp was trialled by about 9,000 families in Malawi, Uganda and Zambia. It was important to Inventid’s founders that the product’s initial trial be far-reaching in order to best address potential users’ needs.
“Working closely with charities in Africa we gathered local insights into family routines, the layout of dwellings and environmental conditions,” explains co-founder Henry James. “We listened to the aspirations and ideas of people whose personal experiences have shaped a product that is co-created in Africa.”
Though the SM100 solar light was developed in partnership with charity SolarAid, Inventid have chosen to sell them at cost rather than give them away. According to SolarAid’s founding director, each lamp sold generates money for food and essentials in East Africa.
The recent winner of a silver award in the design for society and design for sustainability categories at the European Product Design Awards, the SM100 solar light can also be bought online for £10 in the UK, with all extra profits going to SolarAid.