ABSTRACT
The second channel by which design makes its mark is through the actual things that designers create. The nature of these outputs is manifold, including aesthetic, symbolic, physical and experiential manifestations of their work. Those include the visible and tangible artefacts such as products, logos, spaces and environments, as well as the less tangible things such as brands, services, experiences and fashions.[1, 2] This is where the designer’s sensitivity becomes relevant. Physical and experiential outputs have substantial evocative powers and, in a very direct way, influence all consumers, users, co-workers and stakeholders – essentially all those external recipients of the work of designers.[3, 4, 5] Unlike frameworks, which I discussed in Chapter 9, the impact on the outputs is instantaneous. Just imagine our reactions to a beautiful piece of jewellery, a particularly attractive car or a gorgeous evening dress. Now picture a very welcoming hotel room or a very friendly working environment. All these outputs created by designers have the capacity to imprint themselves onto popular culture or shape the inner workings of an organisation. As Pasquale Gagliardi[5] argued, artefacts and spaces that surround us are not just an expression of deep underlying assumptions – as in Schein’s[6] view – but, rather, equally shape how cultures are carrying deeply symbolic meaning. For example, a particularly configured workplace, such as the one at IDEO, Google or Pixar, is not only an expression of the creativity of the people working there but is also the catalyst for innovation.[7, 8] There are considerable gains available if the quality of the ergonomics of a workplace are carefully attended to by designers.[9, 10] Steelcase, the parent company of IDEO, knows this very well.
