In the world of product design, where aesthetics often take the spotlight, a deeper, more impactful art form lurks within the very fabric of organisational dynamics. This art form is critique—a process not just of assessing aesthetics but of revolutionising how teams collaborate, communicate, and ultimately, how they influence the broader company culture. My recent reflections, spurred by the illuminating insights of Adam Connor and Aaron Irizarry in their seminal work, "Discussing Design," have led me to a profound realisation: the true transformative power of product design lies in its ability to navigate and reshape organisational challenges.
"Good critique is comprised of three key elements: It identifies a specific aspect of the idea or a decision in the design being analyzed. It relates that aspect or decision to an objective or best practice. It describes how and why the aspect or decision work to support or not support the objective or best practice."
Critique, as Connor and Irizarry articulate, is a nuanced form of feedback. It's a structured analysis that goes beyond the superficial, probing deeply into the design decisions against the backdrop of objectives and best practices. Reflecting on my own practices, I've come to understand how my approach to soliciting feedback has evolved. There was a time when my requests for feedback were more about seeking validation—a 'like' from colleagues—rather than constructive critique. This realisation was embarrassing, yet enlightening. It made me appreciate the times when feedback was most effective; those instances were always characterised by preparation, by clearly outlining scenarios and user goals before engaging in the critique process.
The authors emphasise the importance of creating a common foundation for critique through personas, scenarios, goals, and principles. For many years and through the development of the Product Design Canvas, I've seen firsthand the power of such a foundation. It "forces" us to consider crucial elements that shape our design decisions. Yet, it was the concept of the Mini Creative Brief that caught me by surprise—a succinct tool that encapsulates these foundational elements, setting the stage for more focused and effective collaborative sessions. It's a reminder of the need for constant evolution in our approach to design and critique.
"What kinds of things should teams work toward agreeing on before diving into the design? There are four common and widely used tools: personas, scenarios, goals and principles, that when put together, create a solid foundation."
Making critique a core part of the design process involves encouraging divergent thinking, a concept highlighted in the book that resonated deeply with me. The challenge in brainstorming sessions is often the premature shift to critical thinking, stifling creativity. Understanding that our brains cannot simultaneously engage in creative and critical thinking was a revelation. It underscored the importance of aligning team efforts, whether in fostering creativity or honing in on critical analysis, to ensure the success of a design session. This understanding has fundamentally changed how I approach collaborative design, ensuring that creativity and critique are not at odds but rather work in tandem to produce the best outcomes.
"The problem with most brainstorms is that we’re not doing anything to prevent participants from thinking critically. So, not only are some participants spending their time and energy thinking about the ideas that have been presented—meaning they aren’t coming up with more ideas—but other participants who might be coming up with ideas aren’t sharing them because as they’re coming up with them, they’re analyzing them prematurely."
Facilitating critique effectively means democratising the feedback process. The notion that "Everyone Is Equal" and the pitfalls of the HiPPO effect (Highest Paid Person’s Opinion) have reinforced my belief in the importance of inclusivity in design critiques. Ensuring that feedback is aligned with design objectives rather than personal preferences challenges us to navigate beyond mere likes and dislikes, pushing towards a more objective and constructive critique.
"More attention should not be paid to those of a higher position just because of that position. You may be familiar with the acronym HiPPO (Highest Paid Person’s Opinion); it’s a killer when it comes to effective critique."
"Critique is not just for designers. It is not owned by design; it’s for anyone looking to improve whatever it is that they are developing."
As I ponder the intersection of design and organisational influence, I'm reminded of the transformative potential of critique. It's a journey of continuous learning, of understanding that the true art of product design is not just in creating visually appealing products but in shaping the very dynamics that drive innovation and success. Through a lens of structured critique and collaboration, we can unlock the full transformative power of product design, shaping not only outstanding products but also the cultures and organisations that bring them to life.
