Understanding
From a roving viewpoint
A state of quietness
In a state of reverberation
Practice before theory
When we say we know Hamlet
You only understand something relative to something you already understand
Mondegreen
Understanding its essence
How our understanding is working
Perhaps one did not want to be loved so much as to be understood.
Everything that can be said
Agents of thought and experiment
For one who can see
- ââSeeing and feelingââ
I don't think you understand
I think very well of him indeed
Admitting ignorance
Dead cities
Up and Down the Ladder of Abstraction
99% Invisible
Understanding Understanding
To Make a Book, Walk on a Book
- ââKoya Boundââ
- ââHow I Wrote Shape Upââ
When their salary depends on not understanding it
AÂ Quote by Upton SinclairIt is difficult to get people to understand something, when their salary depends on not understanding it.
Keep digging
An Article by Ryan SingerThe hardest thing about customer interviews is knowing where to dig. An effective interview is more like a friendly interrogation. We donât want to learn what customers think about the product, or what they like or dislike â we want to know what happened and how they chose... To get those answers we canât just ask surface questions, we have to keep digging back behind the answers to find out what really happened.
Clues for software design in how we sketch maps of cities
An Article by Matt WebbGiven thereâs an explosion in software to accrete and organise knowledge, is the page model really the best approach?
Perhaps the building blocks shouldnât be pages or blocks, but
neighbourhoods
roads
rooms and doors
landmarks.Or rather, as a knowledge base or wiki develops, it should - just like a real city - encourage its users to gravitate towards these different fundamental elements. A page that starts to function a little bit like a road should transform into a slick navigation element, available on all its linked pages. A page which is functioning like a landmark should start being visible from two hops away.
How am I doing, wonder?
AÂ Quote by Louis KahnForm comes from wonder. Wonder stems from our 'in touchness' with how we were made. One senses that nature records the process of what it makes, so that in what it makes there is also the records of how it was made. In touch with this record we are in wonder. This wonder gives rise to knowledge. But knowledge is related to other knowledge and this relation gives a sense of order, a sense of how they inter-relate in a harmony that makes all things exist. From knowledge to sense of order we then wink at wonder and say How am I doing, wonder?
Pellucidity
AÂ DefinitionFree from obscurity and easy to understand; the comprehensibility of clear expression
What 80% Comprehension Feels Like
An ArticleOne of the major principles of extensive reading is that if a learner can comprehend material at 98% comprehension, she will acquire new words in context, in a painless, enjoyable way. But what is 98% comprehension?
- ââ98% comprehensionââ
- ââ95% comprehensionââ
- ââ80% comprehensionââ
The case for rereading
An Article by Mandy BrownReread a book enough times, or often enoughâkeep it at hand so you can flip to dog-eared pages and marked up passages here and thereâand it will eventually root itself in your mind. It becomes both a reference point and a connector, a means of gathering your knowledge and experience, drawing it all together. It becomes the material through which you engage with the world.
How to Make a Complete Map of Every Thought You Think
An Essay- ââZettelkastenââ
- ââThe Zettelkasten Methodââ
What we have known since long
AÂ Quote by Ludwig WittgensteinThe problems are solved, not by giving new information, but by arranging what we have known since long.
Making sense
AÂ Quote by Pablo PicassoThe world doesnât make sense, so why should I paint pictures that do?
I am an explorer
A Quote by C.S. LewisI do not sit down at my desk to put into in verse something that is already clear in my mind. If it were clear in my mind I would have no incentive or need to write about it. I am an explorerâŠWe do not write in order to be understood, we write in order to understand.
Winning by Design: The Methods of Gordon Murray
A case study of the working methods of one particularly successful designer in a highly competitive design domain - Formula One racing car design. Gordon Murray was chief designer for the very successful Brabham and McLaren racing car teams in the 1970s and 1980s. His record of success is characterised by innovative breakthroughs, often arising as sudden illuminations, based on considering the task from first principles and from a systemic viewpoint. His working methods are highly personal, and include intensive use of drawings. Personality factors and team management abilities also appear to be relevant. There are some evident similarities with some other successful, innovative designers
You need to make the step forward
Throughout a racing season there is constant, relentless pressure on the designer to keep making design improvements. But there is a limit to what can be achieved with any car design, before a jump has to be made to basically a new design, an innovation. As Gordon Murray says, âGiven the situation and the pressure at any one time, you do get to the brick wall...I mean you're doing all these normal modifications, you know you can't go any quicker, you need to make the step forward.â
In the midst of the pressure, the fervour, the panic, he âused to get breakthroughs, I mean I used to get like suddenly a mental block's lifted.â
Drawing the bits
That's what is great about race car design, because even though you've had the big idea - the âlight bulbâ thing, which is fun - the real fun is actually taking these individual things, that nobody's every done before, and in no time at all try and think of a way of designing them. And not only think of a way of doing them, but drawing the bits, having them made and testing them.
Like designing things for the first time
Gordon Murray insists on keeping experience 'at the back of your mind, not the front' and to work from first principles when designing. For instance, in designing a component such as a suspension wishbone, 'it's all too easy - and the longer you're in design the easier it is - to say, I know all about wishbones, this is how it's going to look because that's what wishbones look like.' But if you want to make a step forward, if you're looking for ways of making it much better and much lighter, than you have to go right back to load path analysis. It is like designing things for the first time, rather than the nth time.
Wonder Plots
Working from first principles, and working in a highly organized way seem to come naturally to him, but his personal design process is much less structured than the results might suggest. Although he can tightly organize his team and run a complex racing organisation, his personal ways of designing are relatively unstructured, based on annotated, thumb-nail sketches. âI don't sit down and say, OK, now I've had the idea, let's see, this is a solution, these are the different ways to go, if I do this, and do that; I do lots of scribbles just to save it, before I forget.â
Gordonâs design process is based on starting with a quick sketch of a whole idea, which is then developed through many different refinements. âI do a quick sketch of the whole idea, and then if there's one bit that looks good, instead of rubbing other bits out, I'd put that bit to one side; I'd do it again and expand on the good bit, and drop out the bad bit, and keep doing it, doing it; and end up with all these sketches, and eventually you end up throwing ninety percent of these away.â He also talks to himself - or rather, writes notes to himself on the sketches; notes such as ârubbishâ, âtoo heavyâ or âmove it this way 30mm.â Eventually he gets to the stage of more formal, orthographic drawings, but still drawing annotated plans, elevations and sections all together, âUntil at the end of the day the guys at Brabham used to call them âWonder Plotsâ, because they used to say âIt's a wonder anybody could see what was on themâ!â
I never have engineers that aren't designers
Although Gordon Murray carried immense personal responsibility for the design work of his racing cars, inevitably it involved a lot of teamwork. Clearly he has been successful in inspiring others to work with him. He likes to involve team members in the design problems, and for that reason prefers to recruit all-rounders to his team; âI never have engineers that aren't designers.â
The problem with CAD
He also likes to work collectively, standing around a drawing board discussing problems and trying ideas.
For this kind of teamwork, and especially for conceptual design work, he finds computer aided design systems too restrictive. For the McLaren F1 super-car, he installed a five-metre long drawing board in the design office, so that the car could be drawn full size. âThe problem with CAD for this sort of stuff is that you can never have a full-size drawing, unless you do a print, and by the time you do a print it's out of date in the concept stage.â He also does not like the one-person emphasis of CAD screens; âYou can only ever talk to one person at once - you stand behind and look over somebody's shoulder, which is not very good for a boss-designer relationship anyway, to have somebody standing behind you is never a good thing. To look over somebody's shoulder at a tiny little screen, it's just wrong, it's totally wrong.â
(On the other hand, he fully acknowledges that tasks like a complex suspension plot to determine the wheel envelope are ideal for CAD.)
Drawing as a means of thinking
Two-dimensional plans or sections can be seen with sketches and more diagrammatic marks all on the same piece of paper in what appears a confusing jumble.â These sound like Gordonâs âwonder plotsâ. The architects also use their drawings as a means of thinking âaloudâ, or âtalking to themselvesâ, as Gordon put it. For example, Lawson reports the architect Richard MacCormac as saying, âI use drawing as a process of criticism and discoveryâ; and the engineer-architect Santiago Calatrava as saying, âTo start with you see the thing in your mind and it doesnât exist on paper and then you start making simple sketches and organizing things and then you start doing layer after layer.... it is very much a dialogue.â
The common elements in these similar descriptions are the use of drawing not only as a means of externalising cognitive images but also of actively âthinking by drawingâ, and of responding, layer after layer and view after view, to the design as it emerges in the drawings. These observations also confirm Schönâs observation of designing as a âreflective conversationâ between the designer and the emerging design. It is the reliance on drawing, and the preference for the immediacy of the interaction and feedback that manual drawing gives, that makes the architects, like Gordon Murray, unenthusiastic about CAD as a conceptual design tool.
A new gestalt
The innovator has a systems mind, one that sees things in terms of how they relate to each other in producing a result, a new gestalt that to some degree changes the world.
Intense activity, then relaxation
The working style is based on periods of intense activity, coupled with other periods of more relaxed, reflective contemplation. This working style may not be a reflection of a particular personality trait, but a necessary aspect of creative work, which requires alternating intense effort with relaxation.
Strategic, not tactical
The working methods of the innovative designer are, for the most part, not systematic; there is little or no evidence of the use of systematic methods of creative thinking, for example. The innovative designer seems to be too involved with the urgent necessity of problem solving to want, or to need, to stand back and consider their working methods. Their design approach is strategic, not tactical.
Drawing for parallel design thinking
An important feature of their strategy is parallel working - keeping design activity going at many levels simultaneously. The best cognitive aid for supporting and maintaining parallel design thinking is drawing. Drawing with the conventional tools of paper and pencil gives the flexibility to shift levels of detail instantaneously; allows partial, different views at different levels of detail to be developed side by side, or above and below and overlapping; keeps records of previous views, ideas and notes that can be accessed relatively quickly and inserted into the current frame of reference; permits and encourages the simultaneous, non-hierarchical participation of co-workers, using a common representation.
The drawing of partial solutions or representations also aids the designerâs thinking processes, and provides some âtalk-backâ. As well as drawing, innovative designers frequently like to undertake practical work related to the design solution, such as building models or mock-ups, or participating in construction.
A small team of committed coworkers
The innovative designer also likes, perhaps needs, to work with a small team of committed co-workers who share the same passions and dedication.
- ââOn Talentââ