The reflective craftsman Specialized tools like bench shears have proliferated throughout history in part because craftsmen necessarily do the same task with the same tool over and over. After a while, the task becomes routine, and the craftsman is able to perform it with predictable skill. The most creative of artisans is frequently one who, in the midst of routine, pays attention to the details of the work and the tools that effect that work, and so it is that the reflective craftsman develops ideas for new and improved tools in the course of working with those that he perceives to limit his achievement or efficiency. Henry Petroski, The Evolution of Useful Things Eating your own dog food toolsroutineskill
Routine design When we think of bridges, it is the dramatic and monumental long spans that come to mind first, especially the lithe suspension bridges such as the Golden Gate and the pure geometric arches such as Sydney Harbour. But the majority of bridges are not such spectacular structures. Most of them are ordinary overpasses, with spans of 30 or 40 feet, carrying roadways or rails across other thoroughfares or over small streams. You see such bridges by the dozen on any drive down the Interstate. They may be lacking in glamour, but they are more representative of a bridge builder's art. The engineering and construction of girder bridges are pretty routine these days, but the bridges are not quite standard items you order from a catalogue. The girders, whether of steel or concrete, are custom-build for each bridge, then trucked to the site and hoisted into place with a crane. The designer still has scope for variation and creativity, and it shows out on the highways: some overpasses are prettier than others. Brian Hayes, Infrastructure: A Guide to the Industrial Landscape engineeringdesignautomationroutine
To pick up my pen An Article by Nick Cave www.theredhandfiles.com The most important undertaking of my day is to simply sit down at my desk and pick up my pen. Without this elementary act I could not call myself a songwriter, because songs come to me in intimations too slight to be perceived, unless I am primed and ready to receive them. They come not with a fanfare, but in whispers, and they come only when I am at work. Touch the keys creativityroutine
Collaborative Information Architecture at Scale An Article by Brandon Dorn www.viget.com Here I describe an approach for defining new information architectures for large organizational websites managed by many stakeholder groups. Broadly speaking, there are four general phases to the approach: Auditing. Begin by immersing yourself in existing content and encourage stakeholders to adopt a critical, audience-minded perspective of their content. Diagramming. Work with stakeholders to develop new conceptual categories that better serve audiences and organizational direction. Elaborating. Think through content in detail and test new categories against specific instances and edge cases. Producing. Prepare content teams for production using a shared database of new sitemap pages and editorial considerations that you’ve developed incrementally. Half of design is facilitation The Ladder of AbstractionA Pattern Language decisionsorganizationpatternsanalytics
Half of design is facilitation At least half of the work of design is not design, because design isn’t just "making things"—it’s making things with other people, many of whom usually aren’t designers. This is true any time you’re working with others from a domain outside of your own. Communicating ideas, marshaling stakeholder consensus, soliciting and incorporating feedback, and redefining problems that weren’t fully known at the start are all the non-design work of design, what we might generally call "facilitation." designcommunication