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The focus of my fall 2023 semester was developing an individual design process. Projects for Studio Courses like the Kumiko Lamp and Wine Residence taught me much about my problem-solving approach.
My methodology has revealed itself naturally in its simplest form as a spiral shape surrounding the solution or some iteration of 'done'. Before we begin spiraling, a few external influences have shaped my way of thinking and are necessary components to comprehending the intricacies of how I like to work.
"The Manifesto of Done" by Prettis and Stark (2016) is a 13-step productivity method that has greatly aided the internal struggle of procrastination and perfectionism.
From this basic set of guidelines, I have redefined 'done', separated that idea from finishing a project, and adopted a stronger sense of confidence during idea execution.
The second prerequisite is a basic knowledge of the Architectural Design Process Phases and comprehension that my work philosophies have stemmed from this structure and strongly mirror the concepts.
Architectural Design Phases:
Programming
Schematic
Design Development
Contract Documents
Administration
Through rigorous trial and error, I have revised the phases to more accurately represent the steps I maneuver through. My process is a spiral in which each step will always lead closer to the
solution, regardless of setbacks and perspective shifts.
The process of every project is divided into two 'acts':
Discovery, the act of seeing, finding, or gaining knowledge, and
Development, to set forth or make evident by degrees or in detail. (Merriam-Webster)
These concepts are flexible & applicable to many individual processes.
The halves of Discovery and Development are rarely equal and often ebb and flow as progress is made. The phases are interrelated and dependent on one another to produce a solution or version of 'done'. These phases break down further into Interactions.
Interactions are engagements with the project that steer the vessel of productivity from design conception to the best solution.
The first interaction with any project will always be the Introduction, the initial contact with the work, and the specific problem. The intro always comes before the problem statement because sometimes clients or underdeveloped concept ideas misconstrue the issues designers solve. The Pre-Statement must be translated into what we know as a Problem Statement. However, the translation will only be fluent if the next phase is exhausted. (Steinen, 1977)
The Information stage is one of the most important; every idea, decision, preference, and interaction will stem from the comprehension and context acquired during this step. I used to dread the info stage because it felt like a research project, but now that I understand research can encompass almost anything, can be whatever interests you most, and that there is no correct way to learn about a topic, the information stage has become one of my favorites.
The info stage is the time to answer the big picture questions: who, what, when, where, and why? The answers we seek are in everything around us, and we must approach them with a childlike sense of wonder to truly explore and engage with the ideas yet to be discovered. (Bates, 1960)It is always best to revisit the info-seeking stage periodically throughout your project to strengthen your understanding and design fluency.
Once you have an adequate grasp of the information necessary, I like to test this by presenting all of my current knowledge to someone uninvolved to see if I can adequately describe the context, it is now time to revisit the Problem Statement. The Identification step will outline requirements, limitations, deadlines, means, and other pertinent boundaries. (Lauer, 2008) From this collection of parameters, we rework the prestatement to include the relevant context and create the purest form of the problem statement possible. Any questions regarding the brief should be sorted out; there should be the least ambiguity about the parameters possible. We proceed with schematics once the problem has been properly identified. (Steinen, 1977)
The next step is where the fun of design truly begins, the Ideation stage or what is commonly called schematic/rough visualization. Ideas should be generated by the dozens, literally. Make crude sketches just to record the thought while you can see it clearly; nothing about your work at this point should be polished or refined. Play like a child, and encourage a lively and vigorous imagination for the best creative flow. (Batchelder, 1927) Everything that comes into your mind is worth entertaining at this point; allow yourself flexible craftsmanship for the sake of progression to the actual concept. Each idea you formulate should be investigated, analyzed, and set down. Your mind should be entirely 'wrung-out' of ideas. Don't hesitate to change your methods/approach; this is the best time. Reach for connections to your project everywhere; anything that reminds you of your work should be tinkered and put on paper. (Best-Maunguard, 1927)
When your mind is exhausted of all creative possibilities, step back from the plethora of visual representations. Look at this collection of sketches as a clue to finding your direction; you must translate the visual chaos into a single pursuit method. Most of your sketches will likely have a few common elements between them. Identify these commonalities; this is the conception of your concept.
Investigation begins when you've found a direction of concept to follow. The investigation phase is the first step in the Development Act. Following the rough visualization stage, chase your interests or inspiration to find the 'meat' of the project. Don't become set on your first idea; this is the bridge between Discovery and Development. This stage will be one of the last times to maneuver between multiple concepts quickly without returning to previous stages. Investigation is the time to internalize why you have the tastes you do and how they connect to the more significant existence of art and human society. That sounds much more daunting than it is; you're just further exploring when/where/and why your direction is the best method for you with the help of outside sources. (Batchelder, 1927)
Once you've found your groove with a singular concept, put the research and precedence you've recorded to good use through Imitation. The first step in creating 'original' work is imitating work that does something similar to your purposes and then "giving the old form new clothes". As designers and artists we must accept the notion that no thoughts are original, all thoughts and new ideas are simply unique configurations of preexisting concepts. Its best to further dissect the avenues you investigated to grasp your inspiration's 'construction/ makeup'. For some smaller and easier projects, this step can be omitted; this is only in the case of already having the experience or knowledge of the art that precedes you. (Best-Maunguard, 1927)
When you are comfortable with your roughly improved craftsmanship, you will take the concepts and imitations you've explored and Interpret them into your project. Interpretation is much more easily said than done; you may be struggling to take your studies and produce new ideas. Play and curious exploration of configurations and approaches are crucial to the best interpretations you can create. Your work will begin to take life through you; hopefully, you will enjoy this stage because it is the genesis of YOUR design solution.
You will naturally arrive at Implementation after interpreting your research and applying familiar concepts to your project. During this stage, you will start to define partial solutions for pieces of the problem you identified earlier. Implementation will likely bring much critical thinking and many applied knowledge hurdles, but it is the core method to developing your idea. Use all of the tools you've created in previous stages to guide your work and steer your solution.
Partial solutions are test subjects that you should Iterate time and time again. A professor of mine said, "The quality of the product (any design) is directly correlated to the number of iterations in your process." This step is more playtime with puzzle pieces without the reference photo. Sometimes the best way to pursue a project further is to try your solution again.
You've now produced partial solutions for all aspects of your problem; it's time
to Integrate your work into a cohesive product. Integration is when you connect your ideas, string them together, and organize them to produce the best solution. You will go through dozens of iterations; you will only get it partially correct in the beginning. You must keep tinkering, questioning, and playing with your ideas until you hit a wall, find the answer or arrive at a version of 'done'. (Steinen, 1977)
Some form of 'done' will result: that could be a failed idea or the best solution you could produce. Either way, don't keep it to yourself. Inquiry can be incredibly humbling but can also be the most beneficial of the stages. Inquiry is one of the most flexible stages. You are bound by the confines of your imagination and will have a fixed perspective of your work as it has taken shape through you. Take your best version of 'done,' and ask your mentors, peers, friends, and anyone who will listen for their perception, analysis, description, and ideas. Be open to anything and everything said, and record all ideas, no matter how seemingly disconnected they are from your work. If you open your work to critique or comment, you have entered the inquiry stage. Use this opportunity for a fresh perspective to broaden your horizons and digest feedback about your project thus far.
With new ideas and directions in mind, you can ignore advice or use it, re-evaluate your solutions, and pinpoint the weakest links. Improvement is often done after you receive 'redlines' or feedback to strengthen your work. Now is the time for finishing touches, reviewing/revisiting your concept and design intentions, grading your work, and accepting that it will never be finished. Laugh at the idea of perfection and work towards improvement. While you may never create the perfect, finished product, you will create an improved version, which is always the realistic design goal.
A more realistic visualization of my workflow mimics an intricate web of retracing steps, starting over, and sometimes useless side quests and loops. Remember, none of these interactions are stagnant or fixed. Every project's process has a unique series of events that might loop back, hit dead ends, or not make much sense. While the process can be winding, confusing, and disorienting while you're in the thick of it, you must keep moving forward. You will produce hundreds of versions of 'done,' at least one at the end of each interaction. The point of being done is to make more work, to keep going. (Prettis, 2017)
As a result of embracing a structured yet adaptable design process, I've discovered that the journey towards a solution is as enriching as the destination itself. The amalgamation of influences from 'The Manifesto of Done', the Architectural Design Phases, and numerous scholarly perspectives on design theory has not only refined my methodology but has also granted me the resilience to navigate the intricate web of interactions and iterations inherent in design work. It's become evident that the true essence of creation lies not just in reaching a definitive 'done' but in the continuous pursuit of improvement and evolution. Embracing this complexity has liberated my approach, allowing for the fluidity required in the realm of creativity.
For any creative wishing to explore their process, I highly reccomend A Method for Creative Design by Adolfo Best-Maugard, this book gave me existential crisis and epiphanies.
References
Batchelder, E. A. (1927). Design in theory and practice, by Ernest A. Batchelder.
BATES, K. F. (1960). Basic design. principles and practice. foreword by William M. Milliken with plates and illustrations. Cleveland & New York.
Best-Maugard, A. (1927). A method for Creative Design. Dover.
Pentak, S., Roth, R., & Lauer, D. A. (2013). Design basics: Introduction to 2D and 3D Design. Wadsworth Pub Co.
Pettis, B. (2016, August 6). The Manifesto of Done.
Steinen, R. (1977). Introduction to design. Prentice-Hall.
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