5.5 How to Create Beautiful Artifacts

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Do curso por University of Pennsylvania

Design: A Criação de Artefatos na Sociedade

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University of Pennsylvania

Design: A Criação de Artefatos na Sociedade

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This is a course aimed at making you a better designer. The course marries theory and practice, as both are valuable in improving design performance. Lectures and readings will lay out the fundamental concepts that underpin design as a human activity. Weekly design challenges test your ability to apply those ideas to solve real problems. The course is deliberately broad - spanning all domains of design, including architecture, graphics, services, apparel, engineered goods, and products. The emphasis of the course is the basic design process: define, explore, select, and refine. You, the student, bring to the course your particular interests and expertise related to, for instance, engineering, furniture, fashion, architecture, or products. In prior sessions of the course about half of the participants were novices and about half had prior professional design expertise. Both groups seem to benefit substantially from the course. All project work is evaluated by your peers -- and indeed, you will also be a peer reviewer. This format allows you to see an interesting collection of projects while getting useful feedback on your own project.

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Week #5: Aesthetics

Now that you’ve identified what concept you want to explore, this module will explore the aesthetics of design so that you can refine your prototypes to be as aesthetically pleasing as possible. You'll learn how aesthetics are used in design, and how they motivate reactions toward artifacts overall using a real-world example. You'll also learn how you can apply these aesthetic principles to your own prototype, so that you can make your prototype more appealing and pleasing to potential customers. By the end of this module, you'll be prepared to implement aesthetic changes to your existing prototype so that you can be ready to submit your final design project for review in the following module.

5.1 Scoop Update: User Testing Two Remaining Concepts8:21

5.2 Introduction to Aesthetics in Design4:12

5.3 Theory of Aesthetics21:12

5.4 Notes on Aesthetics in a Commercial Context8:08

5.5 How to Create Beautiful Artifacts4:30

5.6 Scoop Update: Final Direction6:38

5.7 Scoop Update: Final Prototype8:09

5.8 Scoop Update: Final Prototype User Test2:04

Conheça os instrutores

Karl T. Ulrich
Vice Dean of Entrepreneurship and Innovation
The Wharton School

I've talked quite a bit about aesthetics without really giving you much guidance

for how you create. Beautiful artifacts.

I wish I could tell you a formula, I wish I could give you a step-by-step process

the way I was able to do for, user needs, or even for exploration.

But aesthetics is, is a pretty elusive topic.

And performances is, is elusive as well. And so, let me just give you a little bit

of advice and a few thoughts on how it is that you actually achieve good outcomes

in terms of creating beautiful artifacts. First, there are two basic contexts in

which I think it makes sense to think about this challenge.

One is, if, if we're talking about work you're doing for yourself.

Then I would just give you some advice to, first of all, work really hard.

And, I'm going to remind you of the creation of this stick figure, for, in

the creation of the design process that I showed in the introduction to the course.

And remember that I spent many hours generating many alternatives for that

little stick figure. One of the ways you get good outcomes in

any area, but especially in aesthetics, is you work hard at it.

So let's not forget that. The second piece of advice in the context

of your own work is to care and to notice.

And, if you, if you increasingly notice when

things are done nicely, when artifacts are beautiful, then, and you start to

care about it, then your own work will become much better.

And, mostly I think this is a questionable

variance of, of noticing of be in aware, of training yourself to pay attention to,

to the beauty or statics of the artifacts that are around you and I think if you

can do that, then if you can develop that awareness then our own work will become

quite a bit better and then the last. Piece of advice in the context of your

own work is to iterate like crazy. You're going to find that.

Lots of iteration that is trying again and again and again to make improvements,

to get feedback, to refine your designs, at the end of the day will result in

things that you're much happier with. And of course not just aesthetically,

more generally, but particularly in the case of aesthetics.

Now, let's talk about a second context, which is working within an organization,

either in a commercial context or a non-commercial context, but where you're,

but where you're, you're working together with a team of

people in order to create some artifact let's say a product or service or

building, something like that. In, in that case if you, personally don't

have training in design arts, then what you're going to do is you're going to get

someone on your team who does have that training.

So in the case of products you're going to work with professionals known as

industrial designers. If we're talking about graphics, then

you're going to work say on, in web design, or on, in print, you're going to

work with professionals called graphics designers.

And if we're talking about the built enviornment, either outdoor environments

and landscapes or buildings, or interiors, then you're going to work with

architects and interior designers. Those professionals all have skill,

training and experience in design arts and can bring to bear an aesthetic

perspective on a project that you might be involved with in some other role.

In cases where. Where the project is, is, big, important

and expensive, and involves lots of people, you really need to bring on, or

get on your team, people who have specific skills and capabilities related

to aesthetics. That's, that's how you get good outcomes.

Lastly I would just remind you that the tournament structure that we talked about

is also. Quite relevant here.

And I'm going to remind you of the example of the terrapass logo and

identity development. And one of the ways you get something

that, at the end of the process, looks great is they explore lots of

alternatives. And you evaluate them in a, using a kind

of a tournament logic. So that you can take that exploration.

Develop and filter the alternatives in order to identify the exceptional few

designs that really are beautiful.

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