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DownloadHow do designers improve their products to work around flaws in human logic? If anything is to be learned from behavioral economics, it is that how people should behave is not how they do behave.
In The Design of Everyday Things, Don Norman argues that designers must accept this fact. Norman teaches the top frameworks behind this "human-centered" design system, the three most important areas of design, and why designers must consider additional principles besides logic, such as psychology, cognitive science, and art, to design excellent products that work better across any industry.
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DownloadEver asked, "How the hell does my thermostat actually work, and why on God's green earth must it be so confusing?" Everyday things are often designed poorly. Designers often go for style over substance — beauty over utility. Companies add needless features to products to increase sales but do nothing for a product's design. Commuters shouldn't have to perform tai chi to operate train station taps.
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In The Design of Everyday Things, Donald A. Norman offers a desperately needed perspective on design. The book emphasizes the need for human-centered design and draws on various subjects from psychology to art and offers useful frameworks for designers to make things with the user in mind — warts and all.
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DownloadEver approached a door and did not know how to use it? Should you push or pull? Slide or rotate? Wave? So has Donald A. Norman. So much so that such doors are now known as Norman Doors. Don Norman is an engineer by trade and by nature. He sees the world as many engineers do: logically.
Norman has a friend that became stuck between two sets of doors because their hinges were not visible and he could not figure out how to pass through. The building's entrance "probably won a design prize," Norman writes sarcastically. But because it causes confusion, it is designed poorly.
For simple designs, like those for a door or kettle, manual instructions to "push" or "pull" should not be necessary. Good design should indicate action by itself. Make a pillar visible so that it's clear which side of a door is attached to a hinge. When simple things are overly complex, Norman writes, "the whole purpose of the design is lost."
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Norman focuses on three areas that fall under the category of design:
Discoverability is a crucial stage of user experience and comprises five fundamental psychological concepts:
The relationship between an object's properties and the capabilities of the agent that interacts with it—ergo, a chair affords support, so in turn, it affords the ability to sit on it. An affordance only exists if the agent can interact appropriately; for example, if a child is not strong enough to lift a stool, the stool does not afford lifting. Affordance is relative. To be effective, affordances and anti-affordances have to be discoverable.
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Signifiers are the components that signal affordance. A flat panel on a door signifies the need to push it open. Affordances determine what actions are possible. Signifiers communicate where the action should take place. "When external signifiers—signs—have to be added to something as simple as a door, it indicates bad design."
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There are four kinds of constraints. Physical, which use properties of the physical world to suggest action; cultural, which are based on cultural norms, because "each culture has a set of allowable actions for social situations"; semantic, which rely on the meaning of a given situation to control the set of possible actions; and logical, which use good-old logic to take advantage of the logical relationships between "the spatial or functional layout of components and the things that they affect or are affected by."
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Mappings indicate the relationship between two sets of things. For example, if there are rows of spotlights in a ceiling, a series of switches on the wall might specify which switch is for which light, depending on their order. This would constitute mapping: the switches are mapped according to the lights. Another example might be a car steering wheel: when it turns right, the top of the steering wheel moves right along with the car itself. The car uses spatial correspondence to make use of the car simple and obvious.
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Feedback in design is crucial and should be immediate. It is the communication of an action. If a cyclist is at a red traffic light that stays red for longer than expected, perhaps it has not registered the cyclist's presence, because their vehicle is smaller than a car. The system lacks feedback.
There is a sixth principle of good design: the conceptual model of the system. Simply, this is an explanation of how something works. Files and folders in one's computer are not files or folders; they are conceptual models of those objects because humans are used to how these objects perform a similar function in real life. This is a useful conceptual model.
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"We bridge the Gulf of Execution [where a user tries to figure out how a thing operates] with signifiers, constraints, mappings, and a conceptual model. We bridge the Gulf of Evaluation [where a user tries to figure out what happened] through the use of feedback and a conceptual model."
When something goes wrong, like when information stored on the cloud goes missing, the conceptual model must offer a solution or it is limited in its quality. Files might appear accessible to users but be untouchable. "Simplified models are valuable only as long as the assumptions that support them hold true."
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Download"Emotion is highly underrated," Norman writes. "In fact, the emotional system is a powerful information processing system that works in tandem with cognition. Cognition attempts to make sense of the world: emotion assigns value. It is the emotional system that determines whether a situation is safe or threatening, whether something that happens is good or bad, desirable or not. Cognition provides understanding: emotion provides value judgments." Perhaps more reason for engineers to soften their hard-logic-based approach: people are emotional creatures and must be accepted as such.
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Relatedly, Norman suggests designers consider three levels of processing: 1. visceral, or automatic responses, behavioral, or well-learned actions triggered by situations, and reflective, or conscious opinion in hindsight. Design must take place at all levels. Bad designs can induce frustration and anger; good designs can induce pride, enjoyment, and calm.
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Norman recommends designers change their perception of failure—that they incorporate more positive psychology into their work. When one designs something new, they should do not worry about failure. What's more:
"A friend kindly let me borrow his car, an older, classic Saab. Just before I was about to leave, I found a note waiting for me: 'I should have mentioned that to get the key out of the ignition, the car needs to be in reverse.' The car needs to be in reverse! If I hadn't seen the note, I never could have figured that out. There was no visible cue in the car: the knowledge needed for this trick had to reside in the head. If the driver lacks that knowledge, the key stays in the ignition forever." Norman uses this as a warning: designers must make it obvious what must be done to use the things they design.
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There are two types of knowledge that people use on a day-to-day basis: knowledge of—referred to by psychologists as declarative knowledge (remember to stop at red traffic lights)—and knowledge how—also known as procedural knowledge (knowledge of how to play a musical instrument). One need not recall exactly what a coin looks like to pay for things; knowledge that it is a coin is enough.
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How does a pilot remember so much? They are given myriad complex instructions before they take flight. The answer is that they don't. They do not leave the unreliable short-term or working memory responsible for such important decisions. There is too much to remember to do. Therefore, pilots take advantage of their plane's equipment to 'remember' important information. This is the design implication: for the risk of failure to be mitigated, designers must consider the limitations of human memory.
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'Prospective memory' denotes the task to remember to do something in the future. For this, one needs a reminder of it. A reminder is made up of two main components: a signal and a message. A signal lets one know something needs to be remembered; a message informs one what the thing to be remembered actually is.
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DownloadGiven that spatial mapping of switches (such as light switches) is not always appropriate, activity-centered controls are sometimes a nice solution. For example, many auditoriums have activity-based switches; a switch might be labeled 'lecture', which when pressed activates the correct balance of light (nearer the back of the hall) and darkness (near a projector or screen, so it's easier for the audience to see the presentation).
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Norman writes of the importance of sound used in design to offer positive or negative feedback. Think of the tinny sound heard when a car door fails to close properly. Then, compare that to the satisfying catch sound when it closes correctly.
For blind people, the lack of sound that comes from new electric vehicles is a problem. The ability to listen out for a car's revs is often how blind people know whether it is safe to cross a road. Because of this, sounds are now added to electric vehicles to make them safer.
Skeuomorphic is the name given to something new to resemble something old, like early plastics that resembled wood. Skeuomorphic designs can be useful conceptual models that aid learning; recall the example of 'folders' and 'files' in your computer's hard drive. This makes it easy for users to know what's happened.
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If a person fails to understand their home thermostat, who is at fault, the technology, or the person? Norman believes it is often the technology.
Technologies that people must use each day should not be as complex as they often are. Rather than blame ourselves, we ought to expect more of our everyday things.
Most industrial accidents—between 75% and 95%—are caused by human error. Norman thus poses the question: How is it that people are so incompetent? His answer: they aren't. It is a design problem.
"We design equipment that requires people to be fully alert and attentive for hours or to remember archaic procedures even if they are only used infrequently, sometimes only once in a lifetime. We put people in boring environments with nothing to do for hours on end, until suddenly they must respond quickly and accurately. Or we subject them to complex, high-workload environments, where they are continually interrupted while having to do multiple tasks simultaneously. Then we wonder why there is a failure."
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Errors occur for many reasons: people are asked to be alert for hours on end, they must multitask, they must operate machinery that makes it difficult to resume operation after distraction (despite the very human inclination to be distracted by things), and so on. But for Norman, perhaps worst of all is people's attitudes towards error.
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"If the system lets you make an error, it is badly designed. And if the system induces you to make the error, then it is really badly designed. When I turn on the wrong stove burner, it is not due to my lack of knowledge: it is due to poor mapping between controls and burners. Teaching me the relationship will not stop the error from recurring: redesigning the stove will."
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There are two types of errors: slips and mistakes. A slip occurs when someone intends to do one action but does something else. There are two kinds of slips: action-based, like when someone pours milk into coffee and then puts the coffee cup back in the refrigerator; and memory-lapse, like when someone forgets to turn the gas off after cooking.
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A mistake occurs when the wrong goal is established in the first place. There are three kinds of mistakes: rule-based, like when the right diagnosis is made but the wrong course of action is planned; knowledge-based, like when a problem is misdiagnosed because of erroneous or incomplete knowledge; and memory-lapse, when stages of goals, plans, or evaluation are forgotten.
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British researcher James Reason first likened error to Swiss cheese. He argued that when systems go badly wrong, like when a nuclear power plant explodes, multiple things must go wrong and thus align in a grim cocktail of error. Think of holes in different pieces of Swiss cheese that line up so that a single straight line could pass through each of them. Norman says this is why most analyses of error are doomed to fail: stakeholders usually stop their investigation when they find one thing that went wrong. However, the answer is to be found further ahead, as catastrophes are usually caused by multiple things that go wrong rather than only one.
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Design thinking asks designers to solve a problem only if they are certain it is the right problem to solve. One should scrutinize an issue to the high heavens before they attempt to solve it. This is how design thinking works.
"Design thinking has become the hallmark of the modern design firm," Norman writes. There are two key types of design thinking: the double-diamond diverge-converge model of design and human-centered design. There are two stages of this model: problem and solution, which are, for simplicity's sake, the two phases of design. Each stage involves divergence and convergence.
To use the 'problem' stage as an example, one must first diverge the approach and consider various possibilities to determine what the real problem is. Then, they must converge when they feel the right problem has been identified. Divergence is to consider possibilities; convergence is to decide the next course of action. This divergence/convergence occurs at both the problem and solution phases.
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Human-centered design actually takes place within the double-diamond model. Human-centered design refers to how exactly problems and solutions are discovered. It is, according to Norman: "The process of ensuring that people's needs are met, that the resulting product is understandable and usable, that it accomplishes the desired tasks, and that the experience of use is positive and enjoyable." There are four different activities of the human-centered design process.
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When one develops products that are to be used by people all over the world, like refrigerators, cameras and computers, activity-centered design is an accent method to human-centered design. Here, it is important to "let the conceptual model of the product be built around the conceptual model of the activity."
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For example, the core components of cars are pretty much identical in every country. So, when the goal is to design more effective and efficient cars, designers should consider the principles of how to drive. A heads-up displays mean that critical instrument and navigation information are displayed in the space in front of the driver so they don't have to take their eyes off the road to see it; automatic functionality mean that there is no need for the clutch pedal; and so on.
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We often take standardized technology for granted. Clocks are standardized, but if you change the image of a clock from the one most people know, it becomes much more difficult to read. Even if the new clock is more logical, the further it deviates from the standardized version, the more difficult it is for humans to read.
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But not everything should be made easy to use. If something ought to be inaccessible or difficult, it should be designed that way. Think of a high-security safe. If the safe is difficult to operate but was designed that way, under the principles of good design it is designed well. It all depends on the object's purpose.
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