quality
It passes by the river
SAFe is oriented around volume, not value
To bring out its noblest qualities
We classify too much and enjoy too little
All the way to the last bolt
v0.crap
What excellence is
The aspiration for quality
Eating your own dog food
More profitable and a better buy
Maybe I should sharpen soon
You'll know it's there
Jobs's father had once taught him that a drive for perfection meant caring about the craftsmanship even of the parts unseen. Jobs applied that to the layout of the circuit board inside the Apple II. He rejected the initial design because the lines were not straight enough.
In an interview a few years later, after the Macintosh came out, Jobs again reiterated that lesson from his father: "When you're a carpenter making a beautiful chest of drawers, you're not going to use a piece of plywood on the back, even though it faces the wall and nobody will ever see it. You'll know it's there, so you're going to use a beautiful piece of wood on the back. For you to sleep well at night, the aesthetic, the quality, has to be carried all the way through."
Measured by the number of its features
A primary cause of complexity is that software vendors uncritically adopt almost any feature that users want. Any incompatibility with the original system concept is either ignored or passes unrecognized, which renders the design more complicated and its use more cumbersome. When a system's power is measured by the number of its features, quantity becomes more important than quality. Every new release must offer additional features, even if some don't add functionality.
There is no kogin that can be called poor
Ensuring Excellence
An Article by Marty Cagan…in so many of the best product companies there is an additional dimension that goes beyond individual empowered product teams, and even goes beyond achieving business results.
It has to do with ensuring a level of what I’ll refer to here as “excellence” although that is clearly a very ambiguous term.
Over the years, this concept has been referred to by many different names, always necessarily vague, but all striving to convey the same thing: “desirability,” “aha moments,” “wow factor,” “magic experiences,” or “customer delight,” to list just a few.
The concept is that an effective product that achieves results is critical, but sometimes we want to go even beyond that, to provide something special.
Maybe it’s because we believe this is needed to achieve the necessary value. Maybe it’s because the company has built its brand on inspiring customers.
Often this dimension shows up most clearly in product design, where functional, usable but uninspiring designs can often achieve our business results, but great design can propel us into this realm of the inspiring.
Avant-Garde and Kitsch
An Essay by Clement GreenbergCapitalism in decline finds that whatever of quality it is still capable of producing becomes almost invariably a threat to its own existence.
Weinberg's Law
A Quote by Gerald WeinbergIf builders built buildings the way programmers wrote programs, then the first woodpecker that came along would destroy civilization.
The value-destroying effect of arbitrary date pressure on code
An Article by Gandalf HudlowThe mandate from above is clear, just get it done! Avoid everything that's in the way: all advice, all expertise, all discovery efforts that detract from hitting the Date™!
What these organizations don't realize is that all software change can be modeled as three components: Value, Filler and Chaos. Chaos destroys Value and Filler is just functionality that nobody wants. When date pressure is applied to software projects, the work needed to remove Chaos is subtly placed on the chopping block. Work like error handling, clear logging, chaos & load testing and other quality work is quietly deferred in favor of hitting the Date™.
Minimum Awesome Product
An Article by Carlos BeneytoUsers are accustomed to a minimum of quality, and they expect that of all new products.
If our product does not [meet basic expectations of quality], people will automatically believe that it is a bad product and they will not take it seriously. It is not what they expect.
Hence my suggestion that the MVP has died and the MAP: Minimum Awesome Product was born.
What happens to user experience in a minimum viable product?
An Article by Ryan Singer"Feature complexity is like surface area and quality of execution is like height. I want a base level of quality execution across all features. Whenever I commit to building or expanding a feature, I'm committing to a baseline of effort on the user experience."
There’s a distinction to make: The set of features you choose to build is one thing. The level you choose to execute at is another. You can decide whether or not to include a feature like ‘reset password’. But if you decide to do it, you should live up to a basic standard of execution on the experience side.
Features can be different sizes with more or less complexity, but quality of experience should be constant across all features. That constant quality of experience is what gives your customers trust. It demonstrates to them that whatever you build, you build well.
Why YKK zippers are the brown M&Ms of product design
An Article by Josh CentersA ‘pro tip’ for evaluating the quality of a piece of gear is to look at the small details, such as zippers and stitching. Cheap-minded manufacturers will skimp on those details because most people just don’t notice, and even a cheap component will often last past a basic warranty period, so it’s an easy way to increase profits without losing sales or returns.
If a designer does bother to invest in quality components, that’s a tried-and-true sign that the overall product is better than the competition.
The McNamara fallacy
A DefinitionThe McNamara fallacy, named for Robert McNamara, the US Secretary of Defense from 1961 to 1968, involves making a decision based solely on quantitative observations (or metrics) and ignoring all others. The reason given is often that these other observations cannot be proven.
The fallacy refers to McNamara's belief as to what led the United States to defeat in the Vietnam War—specifically, his quantification of success in the war (e.g., in terms of enemy body count), ignoring other variables.
Artifice, blindness, and suicide
A QuoteThe first step is to measure whatever can be easily measured. This is OK as far as it goes. The second step is to disregard that which can't be easily measured or to give it an arbitrary quantitative value. This is artificial and misleading. The third step is to presume that what can't be measured easily really isn't important. This is blindness. The fourth step is to say that what can't be easily measured really doesn't exist. This is suicide.
Figma's Engineering Values: Craftsmanship
An ArticleCraftsmanship is about thoughtfulness and care in the work we do. It means being deliberate about what we build and how possible it will be to maintain and extend in the future. A solution that will require revisiting in a month — because it’s not scaling, because it has a ton of bugs, because it doesn’t support all the use cases it needs to — is not useful to us and ultimately will generate pain for our users.
What we trade off by living this value is (sometimes) day-to-day speed. It’s easy to imagine an engineering team that emphasizes moving fast over keeping things stable and bug-free -- like a team building a product that isn’t responsible for important user data and doesn’t support anyone’s livelihood. But given the role the Figma product plays in the lives of our users, we feel it’s worth it to ensure we hold a high quality bar for them. And in the long run, being thoughtful about how we build often reduces the complexity of ongoing development and new features regardless.
The psychology of a discount
An Article by John MaedaFound on a wall.
The bitterness of poor quality remains long after the sweetness of low price is forgotten.
The Eyes of the Skin: Architecture and the Senses
Thin ice
Today the 'depth of our being' stands on thin ice.
Extensions of the tactile sense
"Touch is the parent of our eyes, ears, nose, and mouth. It is the sense which became differentiated into the others." — Ashley Montagu
All the senses, including vision, are extensions of the tactile sense; the senses are specializations of skin tissue, and all sensory experiences are modes of touching, and thus related to tactility.
The computer creates a distance
Computer imaging tends to flatten our magnificent, multi-sensory, simultaneous and synchronic capacities of imagination by turning the design process into a passive visual manipulation, a retinal journey. The computer creates a distance between the maker and the object, whereas drawing by hand as well as working with models put the designer in a haptic contact with the object, or space.
The quality of an architectural reality
The quality of an architectural reality seems to depend fundamentally on peripheral vision, which enfolds the subject in the space...neurological investigations suggest that our processes of perception and cognition advance from the instantaneous grasp of entities towards the identification of details, rather than the other way around.
A hierarchical system of sense
During the Renaissance, the five senses were understood to form a hierarchical system from the highest sense of vision down to touch. Vision was correlated to fire and light, hearing to air, smell to vapour, taste to water, and touch to earth.
The inhumanity of contemporary architecture
The inhumanity of contemporary architecture and cities can be understood as the consequence of the neglect of the body and the senses, and an imbalance in our sensory system.
The art of the eye has certainly produced imposing and thought-provoking structures, but it has not facilitated human rootedness in the world.
Modernist design at large has housed the intellect and the eye, but it has left the body and the other senses, as well as our memories, imagination and dreams, homeless.
Estrangement and detachment, hospitals and airports
It is thought-provoking that this sense of estrangement and detachment is often evoked by the technologically most advanced settings, such as hospitals and airports.
Sonorisms IV
'an unending rainfall of images' (Calvino)
a cancerous growth of vision
we are unable to see or imagine life behind these walls
the patina of wear
to carve a volume into the void of darkness
time turned into shapeThe tacit wisdom of the body
It is evident that the architecture of traditional cultures is also essentially connected with the tacit wisdom of the body, instead of being visually and conceptually dominated. Construction in traditional cultures is guided by the body in the same way that a bird shapes its nest by movements of its body.
Mere retinal art
Instead of an existentially grounded plastic and spatial experience, architecture has adopted the psychological strategy of advertising and instant persuasion; buildings have turned into image products detached from existential depth and sincerity.
Architecture of our time often appears as mere retinal art.
Stage sets for the eye
With the loss of tactility, measures and details crafted for the human body – and particularly for the hand – architectural structures become repulsively flat, sharp-edged, immaterial and unreal. The detachment of construction from the realities of matter and craft further turns architecture into stage sets for the eye, into a scenography devoid of the authenticity of matter and construction. The sense of 'aura', the authority of presence, that Walter Benjamin regards as a necessary quality for an authentic piece of art, has been lost.
Vision reveals what the touch already knows
Deep shadows and darkness are essential
During overpowering emotional experiences, we tend to close off the distancing sense of vision; we close the eyes when dreaming, listening to music, or caressing our beloved ones. Deep shadows and darkness are essential, because they dim the sharpness of vision, make depth and distance ambiguous, and invite unconscious peripheral vision and tactile fantasy.
The street of an old town
How much more mysterious and inviting is the street of an old town with its alternating realms of darkness and light than are the brightly and evenly lit streets of today! Homogenous bright light paralyzes the imagination in the same way that homogenization of space weakens the experience of being, and wipes away the sense of place. The human eye is most perfectly tuned for twilight rather than bright daylight.
To carve a volume into the void of darkness
The nocturnal sound is a reminder of human solitude and mortality, and it makes one conscious of the entire slumbering city. Anyone who has become entranced by the sound of dripping water in the darkness of a ruin can attest to the extraordinary capacity of the ear to carve a volume into the void of darkness. The space traced by the ear in the darkness becomes a cavity sculpted directly in the interior of the mind.
The door handle is the handshake of a building
Time turned into shape
A pebble polished by waves is pleasurable to the hand, not only because of its soothing shape, but because it expresses the slow process of its formation; a perfect pebble on the palm materializes duration, it is time turned into shape.
Authentic architectural experiences
Authentic architectural experiences consist of approaching or confronting a building, rather than the formal apprehension of a facade; of the act of entering, and not simply the visual design of the door; of looking in or out through a window, rather than the window itself as a material object; or of occupying the sphere of warmth, rather than the fireplace as an object of visual design.
Architectural space is lived space rather than physical space, and lived space always transcends geometry and measurability.
From body to body
During the design process, the architect gradually internalizes the landscape, the entire context, and the functional requirements as well as his/her conceived building: movement, balance and scale are felt unconsciously through the body of the observer, the experience mirrors the bodily sensations of the maker. Consequently, architecture is communication from the body of the architect directly to the body of the person who encounters the work, perhaps centuries later.