Heart and Design Project

AN MFA IN DESIGN THESIS PROJECT BY MARY ROHL

D

DESIGN WITH HEART [THE PRACTICE OF MEANINGFUL WORK IN DESIGN]

[RETHINKING THE PRACTICE OF DESIGN]

[DESIGN WITH PURPOSE]

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WHAT’S thesis statement................................................................5 artist statement................................................................ 6 about...................................................................................... 8 influences............................................................................ 13 introduction....................................................................... 15 background ......................................................................18 project.................................................................................28 conclusion..........................................................................43 references..........................................................................47

4 | INTRODUCTION

S THESIS STATEMENT The human desire to have a meaningful life is universal. A meaningful life is recognized as one that creates purpose and has heart-felt connections (Maslow & Langfeld, 1943). For individuals who make their living as designers, creating a meaningful practice sometimes conflicts with the profit-minded, machine-like organization of business. This research explores a contemporary movement in business that humanizes traditional corporate systems to expand profit-minded purpose to include beneficial social and environmental causes. The central objective for the Heart and Design project is to put heart into the practice of design.

For the purpose of this project, heart represents fulfilling human

connections and the joy and satisfaction that result from contributing to society in ways that make it better. A fulfilled designer can contribute effectively with meaningful purpose to the entire creative and strategic process. The Heart and Design project theorizes that, instead of limiting the design process to making an idea marketable, design can make the idea itself better. The extended effects of this project application add value to the designer’s practice and corresponding business.

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design for good.

6 | INTRODUCTION

ARTIST STATEMENT Being a graphic designer is part of my identity. But, there always seemed to be something missing from my professional life. After the romance and excited energy of a job well done for my client faded, I often reflected on what, if any real impact I was making on things that actually mattered to me.

A meaningful life is recognized as one that has a sense of purpose

and creates human heart-felt connections (Heintzelman & King, 2014). While western society has been successfully driven by external motivations, money, status, and grades—research has found the joy felt from reaching those goals is fleeting (Ancor, 2011; Pink, 2009) and its motivating factors limited. Real happiness is only possible when a meaningful life is achieved, fortified with human heart-felt connections and purpose (Ancor, 2011; Pink, 2009).

The UW-Stout MFA program has released my mad designer skills

needed to tackle real-life, big-picture problems. I am no longer a designer who is limited to the creative department. I vow to continue to grow and contribute as valuable creative resource: a researcher, a storyteller, a problem-solver and a leader.

I believe we are in the midst of an exciting paradigm shift. Businesses

are realizing the importance of truly listening to the humanistic concerns of society—it is just good business. There are exciting emerging businesses for good, “b (benefit) corporations”, that combine financial stability with socially responsible purpose. And most exciting for the design profession, more than ever there is opportunity for design with wholehearted compassion at its core.

The Heart and Design Project could easily be dismissed as overly

idealistic and unrealistic, but emerging research from psychology, ecology and economics is indicating it is a practical response to creating a functional, sustainable business model. This yearlong thesis project, Heart and Design, investigated how design can lead with its heart. Within this paradigm shift, business leaders are recognizing that at the end of the day, or more importantly at the end of their career, return-on-happiness beats return-on-investment! Wholehearted designers are able to break free from the limits of the traditional creative department with the ultimate goal that business, society and the environment can all flourish.

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HEART/D PROJEC MFA IN “ The urge to create beauty and justice is an untapped power, and it exists in all levels of society.”

-Paul Hawken

Author, The Ecology of Commerce

8 | INTRODUCTION

DESIGN CT DESIGN heart

Modern-day logic often dismisses the power of the heart

as a myth. Experiences that are heart-felt, from joy, empa-

thy and sadness, are the key to a meaningful life and connect us

as humans (Ancor, 2011; Pink, 2009) Anyone who has been surrounded by

loved ones has felt the power of heartfelt energy. In the profit-only dogma of traditional business, designers often unattached themselves from their questionable ethics or finding purpose in order to facilitate the goals of business.

design

Design is a mighty force at the core of modern culture. Everything that

has been touched by humankind (Simon, 1996), from a cultivated field to

a skyscraper, has been designed and as a result has made our lives better or worse. According to the seminal work on the history of graphic design (Meggs & Purvis, 2006) since the Industrial Revolution, technology has

created a gulf between people’s material desires and spiritual needs. In the preface to this revised work—Meggs writes that the design arts (architec-

ture, product, fashion, interior, and graphic design) are critical to reconnect and communicate human values to industrialized products (Meggs & Purvis, 2006). Additionally, as the space and complication of what is designed expands, via technology and industry, so does the role of designers.

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business

design

consumer

linear business model

consumer

design

business

business and design responding to consumer

design

humans/ systems environment

wholehearted design 10 | INTRODUCTION

THE RELATIONAL LANDSCAPE OF DESIGN, BUSINESS AND MEANINGFUL WORK IS CHANGING The human desire to have a meaningful life is universal. A meaningful life is recognized as one that creates purpose and has heart-felt connections (Maslow & Langfeld, 1943; Heintzelman, King, & Anderson, 2014). This heuristic-style study examines the interconnected relationship between designers, the practice of design, and meaningful work.

For individuals who make their living as

connections and the joy and satisfaction

designers, creating a meaningful practice

that result from contributing to society

often conflicts with the profit-minded,

in ways that make it better. A fulfilled

machine-like organization of business.

designer can contribute effectively with

This research explores a contemporary

meaningful purpose to the entire creative

movement in business that humanizes

and strategic process. The Heart and

traditional corporate systems to expand

Design project theorizes that, instead of

profit-minded purpose to include beneficial

limiting the design process to making an

social and environmental causes.

idea marketable, design can make the

idea itself better. The extended effects of

The central objective for the Heart

and Design project is to put heart into the

this project application add value to the

practice of design. For the purpose of this

designer’s practice and corresponding

project, heart represents fulfilling human

business.

PURPOSE OF THE HEART AND DESIGN PROJECT is to identify and provide a plan to increase meaningful work within the practice of design.

This project is an attempt to utilize research, experience, and the designer’s way of knowing as it was explained by Cross (2001) to create a plan for designers to help them transform their personal practice. By utilizing a compassionate, introspective research approach, a design plan was initiated which will provide a platform for change with the goal of establishing meaningful work within the practice of design.

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Most people do not consciously seek to become self-actualized individuals but instead desire to be happy and fulfilled. They hope to do something they love while providing for themselves and their family. Maslow (1974) indicates that an activity including a creative endeavor encourages enlightenment.

Ironically designers, who have followed their passion in a professional endeavor, may then be surprised when they ultimately find themselves with feelings that conflict with their personal journey toward enlightenment. In this way, the creative work of design contributes to the designer’s feelings of conflict between a job well done for a client and the design’s impact on a humanitarian level. The frustration is further intensified by the practice of design’s lack of self-governance. The way the practice of design is organized does not allow designers to achieve autonomy or their highest level of creativity.

12 | INFLUENCES

Influences

“ Graphic designers need to be empathetic, interdisciplinary story-makers working across media.”

-Robin Landa

Author, Nible-Thinking Creatively in the Digital Age

“ If you can fundamentally change a business model, product or service, you can shift the paradigm.”

-Robin Landa

“ A wholeness of need and spirit, reunited through the process of design, can contribute in great measure to the quality and rais d’entre [meaningful justification of life in urban societies.”

-Phillip Me

Author, Meggs’ History of Graphic D

“ Good design can release humankind of its neurotic acts of destruction, and aim it towards a destiny that is far more enduring.”

-Paul Hawken

Author, The Ecology of Commerce

Author, Nible-Thinking Creatively in the Digital Age

“ Many designers who are skilled technicians, craftsmen, or researchers have struggled to survive in the messy environment required to solve today’s complex problems.”

-Tim Brown

“ The urge to create beauty and justice is an untapped power, and it exists in all levels of society.”

Author, Change by Design, CEO/President of IDEO

-Paul Hawken

Author, The Ecology of Commerce

This project has been inspired by the wisdom of those who have shared their research and ideas toward a more compassionate world in a practical context. In addition to the titles shown, there has also been significant research through a variety of peer-reviewed papers, information on the Internet as well as additional published books. As part of the research stage of this project, I also interviewed individuals who have various roles and views in the design and business industry.

14 | INTRODUCTION

, f

son n]

eggs

Design

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Design is not neutral. It is time for designers to transcend their service role facilitating the singleminded profit goals of business.

Instead, design can step up to help align business systems with human-centered, socially minded principles that aid in healing humankind’s previous shortsightedness.

16 | INTRODUCTION

A passion project.

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DESIGNE THE HEART AND DESIGN PROJECT IS A DESIGN PLAN FOR THE DEVELOPMENT OF MEANINGFUL WORK IN THE CONTEMPORARY PRACTICE OF DESIGN. The impetus for this project was that, despite designers following a professional career they are passionate about, the constructs of the professional practice of design are organized in a way that inhibit a sense of accomplishing meaningful work. The end result includes foundations for designers who hope to transform their practices to increase the joy and satisfaction and increasing meaning in their work.

An overview of critical writings on design reveals a common theme: the profession of design lacks accountability and responsibility, primarily because of its professional practice (Soar, 2002). In 1964, Ken Garland penned “The First Things First Manifesto” that expressed the concern of a collection of designers, photographers, and students regarding the profession of design’s lack of responsibility and meaningful contribution to society (as cited in Soar, 2002). The manifesto was subsequently revised and published as the First Things First Manifesto 2000, further highlighting the continuous lack of meaningful work in the practice of graphic design and calling for a more humanistic approach to design.

The sentiments presented by each version of the “First Things First Manifesto” are echoed by countless critical writings about the practice of design and the impetus of this Heart and Design project. Designer and activist Victor Papanek (1985) infamously described graphic design as the destructive force that is used in “persuading people to buy things they don’t need, with money they don’t have, in order to impress others who don’t care” (p. ix). Additionally, Buchanan (2001), an influential design critic, asserted the following: We are under no illusion that design is everything in human life, nor do we foolishly believe that individuals who specialize in one or another area of design are necessarily capable of carrying out successful work in other areas.

What we do believe is that design offers a way of thinking about the world that is significant

18 | PROJECT

for addressing many of the problems that human beings face in contemporary culture. We believe that conscious attention to the way designers work in specialized areas of application, such as communication or industrial design, is relevant for work in other areas (p. 38).

Papanek (1985) and Buchanan (2001) express the frustration that many designers experience: their potential to contribute in a meaningful way is limited. The established constraints of the designers’ practice inhibit their potential to the extent that it causes dissatisfaction at work as they question their professional ability to contribute with meaning and purpose.

Chalofsky (2010) attributed this workplace dissatisfaction to the lack of meaningful work.

Meaningful work is described as an activity, professional or non-professional, that contributes to an individual’s higher-order goals and that contributes to living a life that aligns with personal values (Chalofsky, 2010). Maslow (1974) describes this search (for higher order goals essential to the human endeavor) as self-actualization. Meaningful work is not only about finding and practicing one’s passion but also about using that passion and skill to make a positive difference in the world. Meaningful work results when individuals participate in a process where they have a voice, where their voice is heard, where they feel valued, and where they contribute in a positive way.

Most people do not consciously seek to become self-actualized individuals but instead desire to be happy and fulfilled. They hope to do something they love while providing for them-

ER’S

“ We are under no illusion that design is everything in human life, nor do we foolishly believe that individuals who specialize in one or another area of design are necessarily capable of carrying out successful work in other areas. What we do believe is that design offers a way of thinking about the world that is significant for addressing many of the problems that human beings face in contemporary culture. We believe that conscious attention to the way designers work in specialized areas of application, such as communication or industrial design, is relevant for work in other areas.”

-Richard Buchanan Author and Design Theorist

selves and their family. Maslow (1974) indicates that an activity including a creative endeavor encourages enlightenment. Ironically designers, who have followed their passion in a professional endeavor, may then be surprised when they ultimately find themselves with feelings that conflict with their personal journey toward enlightenment. In this way, the creative work of design contributes to the designer’s feelings of conflict between a job well done for a client and the design’s impact on a humanitarian level. The frustration is further intensified by the practice of design’s lack of self-governance. The way the practice of design is organized does not allow designers to achieve autonomy or their highest level of creativity.

Concurrent with design’s struggles to realize a more meaningful practice, design has established itself as a valuable commodity. “Thus, design establishes a dual connection between the technical and the cultural and between the academy and the market” (Ilhan, 2013). The impact of design has become increasingly apparent in contemporary culture—so much so that other disciplines are attempting to utilize the methods of design, adapting the terms design thinking to solve problems and design to describe well thought-out plans. This ubiquitous nature of design is part of the struggle for design to define itself as an academic discipline and to professionally claim autonomy over its specialty.

The struggle to accomplish meaningful work within the commercial practice of design is connected to many of its defining qualities, such as its ubiquitous nature, heteronomous expansive field of knowledge, and service-oriented nature of its practice. These qualities that define design also limit designers’ ability to practice in a meaningful way.

In attempt to help designers practice in a meaningful way, the central objective for the Heart and Design project is to put heart into design. For the purpose of this project, heart represents creating human connections and the joy and satisfaction that result from contributing to society in ways that make it better. In essence, the path to happiness is through compassion, accountability, and responsibility in all facets of our work: those we work with, the environment around us, and

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WE ARE DESIGNERS

DISADVANTAGED

LOVE

HUMAN CONNECTIONS

SHARE IDEAS/VALUES

UNDERSTANDING

SCIENTISTS

MEANINGFUL WORK IN DESIGN

SOCIAL IMPACT

CONSUMERS EDUCATORS

BUSINESS PEOPLE

MEANINGFUL PURPOSE

FINANCIAL SECURITY

all of the stakeholders throughout the process of design. The path to a more fulfilled designer is paved by the ability to effectively contribute with meaning and purpose to the entire creative and strategic process. The Heart and Design project theorizes that, instead of limiting the design process to making an idea more attractive and marketable, design can make the idea better. The end result adds value to the designer’s practice and corresponding business.

20 | PROJECT

The activities of this project involved creating a plan of action for designers who want to make their work relevant in new contexts.

The convergence of meaningful work with a more humanized business structure creates an opportunity for the practice of design to evolve beyond the constructs of the traditional studio. The plan suggests ways for designers to use artifacts, communication, interaction, and spatial elements to apply their core skills to transform how people interact with prod-

ALL

ucts, services, systems, organizations, and policies. The plan provides benefits for both the designer and organization. By connecting design’s creativity, innovation, and problem-solving skills to a broader context, the plan is intended to make the whole idea work better for humanity.

PURPOSE OF THE PROJECT The purpose of the Heart and Design project is to identify and provide a plan to increase meaningful work within the practice of design. This project is an attempt to utilize research, experience, and the designer’s way of knowing as it was explained by Cross (2001) to create a plan for designers to help them transform their personal practice. By utilizing a compassionate, introspective research approach, a design plan was initiated which will provide a platform for change with the goal of establishing meaningful work within the practice of design.

The design organization. This type of transformation design of a social phenomenon falls under the construct of design activism: design with the intent of creating a greater good for humankind and nature (Fuad-Luke, 2009). Within the construct of design activism, the method of “slow design”

is utilized (Fuad-Luke, 2009). Slow design is the interaction of co-designers from all disciplines; public and professional arenas are both embraced (Fuad-Luke, 2009). Proactive collateral materials were also produced to gather co-designers as contributors in the slow design process. The Heart and Design project is the collection of the theories, skills and tools that enable meaningful work to be realized.

The primary assumption of this project is that the designerly way (Cross, 2001), or the collective of what is known by this designer-researcher’s experience, can be used to change what is, in this case, the practice of design and its relationship to meaningful work. The proposed plan offers a new way of being and doing, with the goal of impacting, if only by planting a seed of positive change, the professional practice of design.

The primary limitation of the project is the extent of the designer-researcher’s knowledge through experience and inability to control the tra jectory of this designed project. The designer-researcher’s professional practice in design is focused on the field of graphic design. Through this experience, an understanding of other design disciplines is generalized based on this experience and gathered from critical and historic writings.

Legendary design activist Victor Papanek has described graphic design as the destructive force that is used in “persuading people to buy things they don’t need, with money they don’t have, in order to impress others who don’t care (1972, p. ix).”

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DESIGN WHAT IS MEANINGFUL WORK IN A DESIGN? Meaningful is any activity that in some ways provides extended meaning, particularily towards self-actualization.

For designers, whose activies often focus on profit driven, service and task oriented projects, meaning at work can be an endeavor that difficult to attain.

This section will present selections of classic

the time they contribute to their professional

theories as well as recent studies on designers

careers.

and meaningful work in a humanized culture. It

MEANINGFUL WORK

is divided into three sections: meaningful work,

the practice of design, and the humanization

meaningful work from a Human Resource

movement. The relational nexus of these three

perspective using social motivation theories as

elements will conclude this section identifying

a foundational framework. Chalofsky found that,

key strategies in the design plan of action.

when he asked people why they work, they often

This will include description of how the discipline

say for the money. What he found in establishing

of design’s defining qualities conflict with

a framework for meaningful work is a disconnect

its ability to achieve meaningful work: the

between what individuals think they want from

ubiquitous nature of design and its ability to

work and what will make them satisfied, happy,

expand its knowledge base. Conversely, design’s

and productive (Chalofsky, 2010).

role as cultural intermediary, acting as a bridge

between technology and the human endeavor, as

and other benefits provide validation of their

well as the cultural trend to humanize, indicate

worth at work. These extrinsic rewards do not

opportunity for growth. These challenges and

motivate individuals to be more productive and,

opportunities affect the designer’s personal

more importantly, to work creatively with passion

quest to achieve meaning and purpose in her

and purpose. “In survey after survey and study

professional endeavors, what Chalofsky (2010)

after study when the questions push beyond the

described as meaningful work.

surface, people list money behind values such as

Creating a meaningful life is part of a personal

satisfaction, close work relationships, autonomy,

journey toward self-actualization (Maslow, 1943).

work-life balance, and learning” (Chalofsky, 2003,

For some designers, this process will only involve

p. 52). Along with individuals questioning their

time distinct from their professional practice

purpose also comes the realization that what

in endeavors such as parenthood, personal

they do is part of their identity and a critical

projects or charity work. For other designers, it

component in creating meaning in their life

is important to incorporate meaningful work into

(Chalofsky, 2010).

their professional practice. For those individuals

who seek to make a positive difference in the

phenomenon in that it is not a concrete,

world, it is hard to overlook or compartmentalize

defined goal but rather a constantly evolving

Chalofsky (2010) began investigating

According to Chalofsky, an individual’s salary

Meaningful work is recognized as a social

22 | BACKGROUND OF MEANINGFUL WORK AND DESIGN PRACTICE

“state of being” (Chalofsky, 2010, p. 11) that changes based on an individual’s knowledge

The components of the meaningful work

and experience. For any given person, what

model include:

constitutes meaningful work will change

1. Sense of self

throughout their life based on knowledge and

2. The work itself

experience acquired. Consistent with other

3. Sense of balance

social phenomena, meaningful work is affected

(Chalofsky, 2010)

by cultural norms within a society’s construct and has patterns that vary by generational and other demographic factors.

It is important to distinguish between

meaning of work and meaning in work.

Meaning of work suggests the value of the work one does as part of an organization and the extended contribution to one’s family and society (Chalofsky, 2010). Having meaning of work can contribute to one’s overall joy but may not provide a strong contribution to one’s sense of meaning in work (Chalofsky, 2010). Meaning in work suggests an inclusive sense of purpose, achieved by “furnishing identity and a reason for functioning as a human being” (Chalofsky, 2010, p. 11). When meaning in work is achieved, a person has realized meaningful work.

Chalofsky (2010) indicates that meaningful

work is part of the integration of the whole as described by Maslow (1943). The integrated

wholeness of meaningful work connects the interplay of three key aspects: the sense of self, the work itself, and the sense of balance.

Each of these factors in and of itself does not create meaningful work; instead, achieving meaningful work relies on the interplay of each to create an integrated whole for each individual’s dynamic (Chalofsky, 2010).

Chalofsky (2010) looks to the work of

motivational theorist Herzberg (Herzberg, Mausner, & Snyderman, 1959) to explain the disconnect created between job satisfaction and dissatisfaction and its relationship to intrinsic and extrinsic motivation. Herzberg, Mausner, & Snyderman’s (1959) research revealed that increasing the level of “basic hygiene factors,” or extrinsic related motivators such as salary and benefits, only affect the individual’s dissatisfaction level (see figure 1). Conversely, only an individual’s connection to intrinsic motivators that provide meaning and challenge would achieve workplace satisfaction.

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To explain this theory, imagine an individual

WORKPLACE SATISFACTION

is offered a job with a high salary, great benefits and generous time off to spend with friends and family. The supervisor explains to the individual that the job they do will be valuable work for

meaning & challenging work: responsibility, achievement, autonomy, opportunities, and feedback regarding contribution.

the company. The work itself is to sit in a room alone with very little human interaction doing a repetitive, manual task over and over again, for 40 hours each week, day in and day out. While this job provides for the individual’s needs and it may even help facilitate a meaningful life outside of work, according to Herzberg, Mausner, & Snyderman’s theory, the work itself will never be satisfying, meaningful work. On the other pole of the continuum, satisfaction is related to intrinsic

NEUTRALITY

motivational factors that include elements of the work itself (provided it is meaningful and challenging): responsibility, autonomy,

salary, benefits, supervisor relationships, job security, safety, and benefits.

achievement, recognition and opportunities for growth and advancement that align with an individual’s personal goals. Connecting to these satisfaction elements inspires the individual’s intrinsic motivation to activate a high level of performance. Through these satisfiers an individual can achieve meaningful work.

For employers, there are benefits to having

a satisfied worker. An employee satisfied by participating in meaningful work is more likely

WORKPLACE DISSATISFACTION

to achieve a high level of performance, job satisfaction, retention and creative output.

Meaningful work creates a mutually beneficial situation for the employee and employer, particularly in roles where creativity and

FIGURE 1. CHALOFSKY’S THEORY on workplace satisfaction vs. dissactfaction utilizes two separate poles of a continum.

innovation are desired. As our workplaces evolve to become less mechanical and more humanistic,

achieved with production goals and cost saving

businesses need to create an environment

measures. Machine-like production and extrinsic

structured toward creative output.

motivational rewards no longer have the desired

effects when the ultimate goal is creative output.

The industrial era mindset has dominated

American culture for the past 300 years.

Chalofsky (2003) indicates that our culture is

HUMANIZATION OF BUSINESS

now moving toward the Knowledge Economy.

Within this emerging context, the human

direct connection to the products and services

contribution through creativity and problem

they use. Consumers demand authenticity,

solving is more important than efficiency

transparency, and value while also connecting

More than ever before, consumers have a

24 | BACKGROUND OF MEANINGFUL WORK AND DESIGN PRACTICE

with the story and larger mission of the business

Hall & Sagmeister, 2001) identify a common

(Grant & Notter, 2011). Businesses of all types

complaint within the practice of design as

and sizes are realizing that, in order to survive

a lack of social responsibility. The usual

in this new paradigm, they must realign their

conclusion of these critics is that design lacks

values to incorporate humanity-centered

professional social responsibility in their

considerations.

practice because of the way their practice

According to experts on consumerism,

is constrained (Soar, 2002). This level and

this paradigm shift to a more compassionate,

extent of this type of self-critique is unique

thoughtful business model is caused by a natural

to the profession of design. Most of these

struggle for people to be more human (Grant &

design experts (Glaser, 2000; Bierut et al,

Notter, 2011). This shift is also tied to individuals’

1999; Buchanan, 2001; Heller & Finamore,

sense of empowerment and interconnectedness

1997; Helfand, 1998) conclude that the

created by computers and the Internet (Lewis

solution to the lack of social responsibility

& Bridger, 2001). “As the Internet has become

is to create partnerships and collaborations

more central in our lives, we have begun to

in which design is not simply a means to

witness a revival of the importance of being

persuade and sell.

human” (Grant & Notter, 2011, p. 4). Humans

naturally want to be heard and to contribute to

like efficiencies and with workers motivated

society.

extrinsically will find individuals who are

Businesses with a central focus for

frustrated with their inability to participate in

compassion and humanity can reimagine

meaningful work. For professional designers

themselves as becoming an incredible force

seeking meaningful work, the structure and

for good while still being profitable (Mackey &

work of the practice of design present unique

Sisodia, 2014). As large corporate structures

challenges that conflict with the inherent

are realigning their goals to be more authentic

qualities of design.

and transparent, upstart companies have

the flexibility and agility to be even more

profession of design, they have a thorough

compassionately focused.

understanding that a significant aspect of

All workplaces structured with machine-

By the time most designers enter the

their role as designer involves facilitating the THE PRACTICE OF DESIGN

needs of business through commercialism.

Several critical voices on design (Glaser, 2000;

The challenge for many designers is when

Bierut, Drenttel, & Heller, 1999; Buchanan, 1998,

they realize a job well done for their client

2001; Heller & Finamore, 1997; Helfand, 1998;

conflicts with their own personal views on

“ Business now believes that good design is good business.

In fact, it believes in it so strongly that design has been removed from the hands of designers and put into the hands of the marketing department” (Glaser, 1997).”

-Milton Glaser Designer

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commercialism, environmental sustainability and

biggest challenge designers have is not limited

social concerns. This conflict is rooted in a moral

to what the designers do, but also to how their

gray area, which manifests itself in a frustrated

practice is organized by means of constraints.

designer who feels their contribution at work

Perhaps the largest obstacle to achieve

lacks social responsibility.

meaningful work within the practice of design

is the limited degree to which their professional

One of the most significant expressions of the

profession of design’s lack of social responsibility

activities are within their personal control.

is the First Things First Manifesto. The manifesto

was first introduced in 1964 and again in 2000

complaint that can be traced to the practice

(See Appendix A for the complete version of the

of design’s lack of autonomy within its own

First Things First Manifesto 2000), as a call to

specialty is designers’ discontent within their

action to designers by designers to explore using

practice. This lack of autonomy can be linked

design in more socially significant ways, beyond

to one key factor: the ubiquitous and largely

facilitating commercialism:

heteronomous nature of design that makes it

subject to the rules and knowledge of other

There are pursuits more worthy of our

Conflicts within design. A recurring

problem-solving skills. Unprecedented

disciplines.

environmental, social and cultural crises

demand our attention…. We propose a reversal

adapts the theories presented by Ilhan

of priorities in favor of more useful, lasting and

(2013) in defining the practice of design as a

democratic forms of communication–a mind

unique interdisciplinary profession. Design

shift away from product marketing and toward

is unique in that it borrows most of its laws

the exploration and production of a new kind of

from other disciplines: art, engineering,

meaning. (First Things First, 1999).

psychology, sociology, business, and marketing.

Furthermore, there is additional flexible

In follow-up discussions regarding the call

The Heart and Design thesis project

to action expressed by the First Things First

knowledge unique to each client, as well as new

Manifesto, the profession of design reacted with

knowledge specific to each project.

a variety of views that ranged from expressing

support to claiming elitism. It was easy for

practice of design’s ubiquitous, interdisciplinary

influential, “star” designers who signed the

nature that is often developed based on the

decree to take a stand and limit their clients

designer’s instincts of human nature tend

to ones they deemed worthy of their skills

to undermine professional designers’ ability

(Soar, 2002). Others in the industry pointed

to distinguish themselves as experts, with

out that the professional designer has limited

the ability to act autonomously within their

responsibility for their role because they

specialty in the workplace. In other words,

are essentially controlled by marketing and

for designers, the parameters and finalization

advertising.

of their work is almost always contingent on

the sanctions from individuals outside of the

For most designers, facilitating

commercialism and making less than positive

Based on this theory (Ilhan, 2013), the

practice of design.

social and environmental impacts through work projects may be unavoidable. An objective

THE NEXUS: DESIGNING FOR MEANINGFUL

observation of the practice of design would

WORK IN A HUMANIZED SYSTEM

conclude that it is a creative process almost

According to Chalofsky (2010) meaningful

entirely supported and governed by the goals

work suggests an inclusive sense of purpose,

of business. An introspective observation of the

achieved by “furnishing identity and a reason

contemporary design practice reveals that the

for functioning as a human being” (Chalofsky,

26 | BACKGROUND OF MEANINGFUL WORK AND DESIGN PRACTICE

2010, p. 11). For the profession of design, and

ability to define what is vulgar and what carries

those individuals seeking meaningful work in its

symbolic weight; in addition, design is designed

practice, the question remains: Is there a way

as a cultural intermediary, making the manmade

to both serve the needs of business and satisfy

functional, meaningful and human.

their personal expectations for meaningful work?

cultural intermediary presents an opportunity

Beyond the inherent qualities that contribute

The notion of design’s unique skill as that of

to design’s lack of autonomy, there are additional

for designers to reframe the focus on their own

contributing factors in how design functions as

role and how their role is viewed professionally

a practice. The organization of the practice

both within and outside of the practice of

of design has two noteworthy qualities: a

design. The identification of design as simply

separated work environment and work projects

a unique creative but subjective aesthetic

that are almost entirely subsumed by directed

process, or even as a ubiquitous problem-

commercial constraints. There is no literature

solving technique, further undervalues the role

found that explores the historic reason for these

of design. Reframing our view of the role of

distinctions but there are some indications that

design to that of cultural intermediary allows us

it is related to the craft-oriented beginnings of

to identify the skill that is unique to the practice.

design.

This mind shift has a two-fold effect: it adds

value to the practice and facilitates the notion of

While it makes logical sense to define

project goals with a projects design brief,

autonomy.

it also limits the meaningful and potential

valuable contribution of designers. A project

themes established through the background

brief represents a linear production model.

research that will be utilized in creating a plan

As business becomes more humanized, the

for change are as follows:

BACKGROUND SUMMARY. The primary

linear production model negates the potential 1. Meaningful work is achieved through autonomy, meaningful purpose and connection to strategy in a designer’s practice.

2. The historical and organizational constructs of the practice of design inhibits meaningful work 3. Design specialty is not problem solving but its role as cultural intermediary, connecting the man-made to the human

benefit provided by the creative insight of designers. On the other hand, a designer could be involved with problem solving that creates previously unrecognized solutions. In this way design becomes a valuable resource in creating solutions that benefit the triple bottom line: people, profits and purpose.

Defining design as cultural intermediary

rather than a problem solving technique helps

endeavor.

to identify design as uniquely significant and positions designers as potential agents of positive social change. Simon (1969) defined

design as a universal act of problem solving,

for designers to discover these opportunities,

changing the existing to a more desirable

with the hope that the end result will be

situation. This distinction for the practice of

meaningful work. Recognizing it is the role as

design is problem solving, which is focused on

cultural intermediary that provides the biggest

connecting the artificial to the human endeavor.

opportunity for design to reimagine the current

limits of their roles, create synergies outside its

Ilhan (2013) believes that designers hold

The Heart and Design project provides tools

a special social status as tastemakers or what

existing construct and apply the unique skill of

Bourdieu (1984) describes as cultural capital.

design to an extended context.

In this way, professional designers have the THE HEART AND DESIGN PROJECT |

27

DESIGNIN THE HEART AND DESIGN PROJECT IS A PLATFORM FOR CHANGE DIRECTED AT DESIGNERS SEEKING TO ADD MEANINGFUL WORK INTO THEIR PRACTICE. The background research indicated there are key challenges for designers who would like to adjust their practice in a way that includes the opportunity of meaningful work. The research also provided valuable insight into creating opportunities for designers seeking meaningful work.

For the Heart and Design project, tactical and strategic design artifacts were created with the intention of transforming the designer’s relationship to meaningful work. This process most closely relates to the constructs described as transformational design. In creating a plan for change that plants a seed for transformation, it borrows established tools from the various designs for change frameworks, as well as design methods associated with traditional public service campaigns that increase awareness and raise consciousness for change.

PROJECT THEMES. The following key themes were identified through the research process (including all of the background information, the designer-researcher perspective, and the interviews):

28 | PROJECT

Contributing factors regarding the practice of design and lack of meaningful work: 1. Design lacks autonomy and control over its specialty.

2. Design lacks connection to the project’s strategic and development process.

Opportunity for growth regarding the practice of design and meaningful work: 1. Design has unique skill is problem solving as cultural intermediary.

2. Creativity and strategic problem solving is a valuable commodity.

3. Humanized business practices promote democratization of project strategy, development, and approval process.

4. Humanized business practices promote a holistic approach: involving, listening, and appreciating all individuals and stakeholders in a democratic manner.

NG

RESEARCH. The research presented a valuable opportunity to connect with a variety of businesses about their practices and relationships to design. The following section summarizes the interviews

001

and explains the key takeaways from each.

CASE STUDY

ORGANIC VALLEY CO-OP

BRIEF DESCRIPTION: Largest organic farmer owned co-op in North America.

STARTED: 1985 ANNUAL SALES: 1 billion in sales in 2015 EMPLOYEES: 802 MEMBERS: 1779 Cooperative Members CORE VALUES: To create and operate a marketing cooperative that promotes regional farm diversity and economic stability by the means of organic agriculture methods and the sale of certified organic products.

WHAT MATTERS MOST: Organic Valley has created a whole-hearted system to support the family farm and provide a quality organic and sustainable product.

WHAT I LEARNED: Meeting with Organic Valley at its corporate headquarters in La Farge, WI, you get the feeling of walking into a happy family home. Clean, sunshiny, and lovingly dependent on each other, Organic Valley’s employees seem to be good people, who are working for a good company, that does good things. They believe in the need for balance and respect between humans, plants and animals.

Organic Valley is not driven by financial goals but seek to sustain a balanced system to support their farmers and employees. At a time of exponential growth in the organic food industry, demand is high, Organic Valley caps their growth at a predetermined percentage. By doing this, Organic Valley is looking forward to the future by creating a sustainable financial system that will support its members and maintain its high quality standards.

BIGGEST CHALLENGES: In times of growth, with many new members, there is substantial time spent educating on values and standards. With democratic leadership, the decision making process can be slow. Leaders embrace this challenge and recognize it as a way to maintain their integrity.

“ Organic Valley is social experiment disguised as a business.”

-George Siemon Organic Valley, CE-E-I-O

THE HEART AND DESIGN PROJECT |

29

Organic Valley is an organic food marketing

Organic Valley website, the owners began

cooperative, located near LaCrosse, Wisconsin,

producing organic vegetables and soon added

in the roaming hills of the southwestern

dairy products (www.organicvalley.com). From

Wisconsin coulee region. Two people were

the beginning the company’s “philosophy and

interviewed separately, Chuck Lacasse, Creative

decisions were based on the health and welfare

Director, and Jonathan Reinbold, Sustainability

of people, animals, and the earth” (www.

Research and Grant Manager. Organic Valley

organicvalley.com).

was first established in 1988 as a farmerowned collective with the purpose of helping

THE KEY TAKEAWAYS from the interview at

to preserve the family farm. According to

Organic Valley were the following: 1. Organic Valley is structured to include social and environment values. Despite this value system, the design department operated in a very traditional manner: physically located 30 miles from the main campus, with directed projects and no connection to the strategic process.

In this way, one could postulate that Organic Valley’s compassionate oriented mission has not yet evolved to holistically incorporate meaningful work for the design department.

2. Lacasse, who runs the design department, mentioned that his job at Organic Valley was more rewarding than the previous positions he’s held because of the wholehearted good nature of the product and the company.

Lacasse reported that, instead of having to put a creative spin on a product through manipulating the products claims, Organic Valley’s goal was just sharing the story of the products qualities. Lacasse indicated that the most rewarding aspect of his job was the fieldwork in which he traveled across the United States and other countries to direct the photo shoots of farmers and to use design to convey their story.

3. Both Lacasse and Reinbold reiterated the notion that organizing a successful business with compassionate humanitycentered values is possible and applicable to any type of businesses.

30 | PROJECT

002

CASE STUDY

MINDSAILING

BRIEF DESCRIPTION: Mindsailing is a marketing agency that services brands in a new way. This interview provided insight into the process of transforming complicated business systems. Located in downtown Minneapolis, Minnesota, in an untraditional cooperative workspace. STARTED: 2010 EMPLOYEES: UNDER 20 CORE VALUES: According to their company website: “Mindsailing is an innovation agency. Change is the new normal. Strong brands practice the art and science of resilience. We help brands transform with business strategies, marketing communications and innovation workshops. We’re strategically driven and tactically agnostic. Our approach focuses on sailing the sea change with business and cultural strategies that strengthen communications and improve offerings. We believe great brands are in the business of good.

WHAT MATTERS MOST: Helping their clients navigate change with an fully open mind and ability to rethink existing systems, no matter how ingrained in the companies ways WHAT I LEARNED: One of the primary principals of navigating through these changes was to create unified goals among all the stakeholders and to ensure that each stakeholder should be recognized as a valued contributor. Diversity is important, not only in cultural diversity, but also in problem solving, approaching a problem from a diverse perspective and a willingness to discard the comfort of best practices in lieu of entirely reimagined solutions.4. For businesses who have relied on possibly outdated best practices, it is often necessary to embrace the notion of disruption in order to redefine systems in a way that is significant enough to make the desired design change.

“ We help brands transform.”

-MINDSAILING

THE HEART AND DESIGN PROJECT |

31

Mindsailing is a marketing agency

The website also highlights the notion that

that services brands in a new way. This

“great brands are in the business of good”

interview provided insight into the process of

(www.mindsailing.com).

transforming complicated business systems.

Located in downtown Minneapolis, Minnesota, in an untraditional cooperative workspace.

Mindsailing is unlike traditional marketing agencies that develop advertising or public relations plans. Instead, Mindsailing helps their clients navigate the process of adjusting to change. Particularly, when the Mindsailing’s clients are presented with large paradigm shifts in their organization, such as large loss of customers, new nimble forms of competition, or more connected, proactive consumers.

Using creative problem solving, education, and storytelling skills, Mindsailing helps their clients rethink existing systems in order to develop innovative solutions.

The interview with Heather Saucier, Director

of Innovation, was focused on the complicated process of designing change within complicated systems. While Saucier avoided talking about specific projects due to confidentiality policies, she explained that the primary activity of Mindsailing was to help businesses adjust to large-scale paradigm shifts. According to Mindsailing’s website, their clients are “facing this era’s most disruptive changes” (www.mindsailing.com).

32 | PROJECT

THE KEY TAKEAWAYS from the interview at Mindsailing were the following: 1. Mindsailing is a business that was created to assist their clients to become more humanized.

2. One of the primary principals of navigating through these changes was to create unified goals among all the stakeholders and to ensure that each stakeholder should be recognized as a valued contributor.

3. Diversity is important, not only in cultural diversity, but also in problem solving, approaching a problem from a diverse perspective and a willingness to discard the comfort of best practices in lieu of entirely reimagined solutions.

4. For businesses who have relied on possibly outdated best practices, it is often necessary to embrace the notion of disruption in order to redefine systems in a way that is significant enough to make the desired design change.

003

CASE STUDY

THE GOOD GROCER

BRIEF DESCRIPTION: Non-profit, grocery store using a working membership model.

STARTED: 2015 MEMBERS: 350 CORE VALUES: Good Grocer was founded in 2015 by a group of people who wanted to help families in need access healthy foods at affordable prices. They do this through a volunteer membership model that invites people from the community to help operate the store and in turn receive a significant discount on their groceries. This minimizes their operational costs, which they pass along in the form of lower food prices for all shoppers. (www.thegoodgrocer.org) WHAT MATTERS MOST: A former paster, The Good Grocer developer, Kurt Vickman ran the neighborhood food shelf where he gave away food. After years of sustaining the food needs of the community, he feared that the service the food shelf provided might be a part of the problem in that it provided for their hunger needs but defeated their dignity and was part of cycle that didn’t allow individuals to grow. He wanted a solution that helped restore their dignity, gave them a sense of purpose while still provided for their food needs.

WHAT I LEARNED: Meeting with the Good Grocer developer Kurt Vickman, you get the full impact on his wholehearted commitment to the those in need along with a bit of frustration that in our overly abundant society, there is need to provide food in the first place. The flagship store is equally functional and aesthetically beautiful, part high end co-op with finishes that rival an upscale furniture store and open, airy welcoming layout.

It is clear that The Good Grocer’s goal of trying to eliminate the stigma and loss of dignity of shopping at this grocery alternative has been accomplished. Members/employees/volunteers work and shop seamlessly alongside each other. The Good Grocer is a perfect example of how re-imagining an existing model with compassion and forward thinking it is possible to make a better model.

“We have to stop treating those in need as helpless clients and start to see them as gifted contributors.”

-Kurt Vickman

Founder, The Good Grocer

THE HEART AND DESIGN PROJECT |

33

GOOD GROCER is a grocery cooperative with

his goals of helping individuals with their food

a heartfelt mission to help people overcome

needs while also assisting them to reestablish

the cycle of poverty; it is presented as a food

their dignity while also providing a sense of

shelf alternative, located on Lake Street in a

purpose.

Minneapolis, Minnesota, neighborhood where

the need for food assistance is great. The

the

Good Grocer was founded in 2015 by a group

community who have need or want to help

of people who wanted to help families in need

those in need to help operate the store as

access healthy foods at affordable prices. It

cooperative members.

was also important for the Good Grocer’s

members receive a significant discount on

founders that this untraditional model assisted

their groceries. This arrangement minimizes

people out of the cycle of poverty.

the organization’s operational costs, resulting

in the form of lower food prices for all

A former pastor, the Good Grocer primary

Through a volunteer membership model, Good Grocer invites people from the

In turn,

developer, Kurt Vickman, ran the neighborhood

shoppers. The structure also has developed

food shelf where he gave away food. After

good-will relationships with large grocery

years of sustaining the food needs of the

distribution businesses that agree to sell the

community, he feared that the service the

Good Grocer food at the same wholesale

food shelf provided might be a part of the

price, as large-scale grocers would receive.

problem in that it provided for their hunger

This significantly lowers food costs, which he

needs but defeated their dignity and was part

passes on to all of the members.

of cycle that didn’t allow individuals to easily

overcome their needs for food assistance. If

and need-based members work alongside each

an individual receiving assistance has any

other. Community volunteers can choose to

type of employment, they may lose all of their

contribute their earnings to the need-based

food assistance. In this way, it perpetuates

members or use the savings for themselves.

the cycle. In this way, it perpetuates the cycle

When it comes time to purchase food, there is

because it unintentionally encourages people

no longer a stigma attached to taking food as

in need to subsist in poverty. Vickman felt that

charity; it is replaced by a feeling of pride for a

providing an alternative solution was critical to

job well done.

In this model, the community volunteers

THE KEY TAKEAWAYS from the interview at Good Grocer include the following: 1. The Good Grocer model is an inspiring example of the idea of disruption in transformational design projects.

2. Good ideas for the community can be aesthetically beautiful, and this beauty adds to the dignity of those who are served by this good will project.

34 | PROJECT

004

CASE STUDY

DESIGNING CHANGE

BRIEF DESCRIPTION: Sandy Wolfe-Wood designs for social change STARTED: 2013 EMPLOYEES: solo; collaborates with AIGA MN with their Design for Good Program CORE VALUES: Upending conventional thinking for social good. Designing Change uses the principles of design to help solve social problems. Social problems demand human-centered solutions, and design thinking is a human-centered problem-solving process.

WHAT MATTERS MOST: Combining public policy and design. How can design help make change that affects the public sector and seeks to make profound change.

WHAT I LEARNED: I got the sense of meeting a kindred spirit when I met with Sandy Wolfe-Wood. She looks at design and design thinking as being synonymous. When I talked with Wolfe-Wood and we discussed my future role in the industry and design education, we talked about how to practically put these ideas into practice. She inspired me to put my research into the Cards for Humanity project.

DESIGNING CHANGE, a design firm that focuses on using design to create positive social

THE KEY TAKEAWAYS from the interview

change, is located in the trendy warehouse

at Designing Change include the

district in downtown Minneapolis. The

following:

interview conducted was with Sandy Wolfe

1. According to Wolfe Wood, designers are

Wood. As a graphic designer, Wolfe Wood has

searching for more profound meaning

always considered design as a tool for solving

in their practice and want a way to

problems, not just as a method of artifact

contribute a social impact other than

creation for commercial purposes. In her

participating in pro-bono work after

pursuit to use design in a humanity-centered

hours.

way, she entered graduate school to study

2. This interview with Wolfe Wood

Public Affairs at the Humphrey School of the

highlighted the challenge that exists

University of Minnesota. Today, Wolfe Wood

between academic theories and

focuses her practice on social impact and

implementing ideas into practice.

public policy, primarily in the non-profit sector.

Wolfe Wood was interested in the

She also spearheads the local initiative of AIGA’s

process of presenting and implementing

(American Institute of Graphic Artists) Design

the ideas discussed into the design

for Good program.

community.

What matters most to Wolfe Wood is

3. According to Wolfe Wood and the

utilizing design to create positive social change.

designers she has worked with in the

As part of her research, Wolfe Wood connected

Minneapolis community, there is a

with the AIGA’s Design for Good program in

willingness to be more socially-minded,

order to connect and share ideas with design’s

and there are challenges to integrate

professional organization.

ideas into their daily practice.

THE HEART AND DESIGN PROJECT |

35

“ If you can fundamentally change a business model, product or service, you can shift the paradigm.”

-Rhonda Landa

Author, Nimble-Thinking Creatively in the Digital Age

The experiences of these interviews provided

design as research, design thinking or just the

valuable insight and helped raise the designer-

design process. The term design as research

researcher’s conscious awareness on various

is somewhat confusing because it not an

aspects of humanized business practices and

investigative process but an explorative one.

meaningful work. As a designer-researcher,

The following section illustrates methods and

during the design stage, research experiences

tools that process background information, the

also range from well-defined interviews to

problem at hand, and human insight to create

overheard conversation in a public setting. The

an effective and practical plan for designers

designer-research becomes hyper-aware to a

seeking meaningful work.

variety of information. It is becomes important

Four-way thinking map. The first tool

to notice and absorb large concepts as well as

highlighted is the four-way thinking

small minute details and everything in between.

map. This tool helps to redefine the idea

Unlike a science-oriented research project,

of meaningful work in relationship to a

which seeks to find multiple sources of support

humanized product. In other words, this

and proof of findings, for design, everything

process explores the relationship between work

has potential and is significant. Each and

satisfaction and dissatisfaction and between

every seemingly unrealistic idea might prompt

a humanized product and one that exists as a

inquiry, bring awareness to subconscious

commercialized profit-making vehicle.

knowing and contribute to the strategic process that solves the design problem, which in this case is to create a plan for change.

STRATEGIC PROCESS TOWARD DESIGN The Heart and Design project platform was created through a synergy of information processed toward an effective design plan.

This strategic stage is an active process that occurs between collected research knowledge and designed solution, imagining the transformation between what is and what could be. This process is sometime identified as

36 | PROJECT

The benefit of this tool is to simplify highly complex, interdependent situations using a multi-purpose topology (Faud-Luke, 2009).

In this way, the four-way thinking model addresses the questions: 1. Is it possible to achieve meaningful work within a profit-only environment and achieve meaningful work?

2. Does the humanitarian value of what designers do directly correlate to high levels of meaningful work?

The interview with Lacasse at Organic

multi-purpose topology (Faud-Luke, 2009). In

Valley provided one such notion that did

this way, the four-way thinking model addresses

not correspond with the idea that what and

the questions:

whom professional designers work for will add

1. Is it possible to achieve meaningful work

meaning to their work. This was a personal

within a profit-only environment and achieve

assumption and was reiterated by design

meaningful work?

critics indicating that the practice of design

2. Does the humanitarian value of what

lacked responsibility because it was limited

designers do directly correlate to high levels of

as a vehicle for commercialism (Soar, 2002).

meaningful work?

In order to attempt to resolve this cognitive

conflict, the four-way thinking map was utilized.

creative director at Organic Valley operated in

The four-way thinking tool helps to simplify

the same way as a traditional, project directed

complicated ideas and, by doing so, brings

design office. It was also noted that national

clarity.

advertising campaigns were handled by an

outside agency. Creative Director Chuck

The benefit of this tool is to simplify highly

complex, interdependent situations using a

Interview observation: The designers and

Lacasse indicated that he experienced more

FIGURE 2. Four-way map: design practice, humanized business and satisfaction at work comparison.

THE HEART AND DESIGN PROJECT |

37

meaning at work because of the positive, heart-

following humanitarian qualities: kindness,

felt mission of his employer, Organic Valley.

empathy, and compassion.

As the creative director, Lacasse spent much

of his time traveling and interacting with the

The use of the four-way thinking tool dispelled

farmers, photographing them and listening to

the researcher’s assumption about humanized

their stories which he noted is the most fulfilling

business and meaningful work. This process

aspect of his job.

clarified the idea that meaningful work does not

directly correlate to the humanitarian impact of

Based upon observation of the creative

Conclusion of the four-way thinking exercise:

department, its physical location away from

the project or business the designers work for,

the main headquarters and verbal confirmation

but also indicates how designers are valued in

by Lacasse, the creative department operates

this development process and given opportunity

in the traditional segmented and directed

for input. Without a voice in strategic decisions,

manner. This observation was the impetus

designer’s satisfaction toward meaningful work

to further investigate the idea of meaningful

is only marginally increased. For this reason,

work for designers whose product is more

the designer-researcher would posits that in

humanized and involves little to no commercial

order to achieve high levels of meaningful work,

manipulation.

it is necessary to have both strategic value

and a humanity-focused project. This research

Conflict: While the theory that less

commercialized products would create

exercise also indicates a surprising theory:

meaningful purpose at work, the background

meaningful work can be achieved through

research on meaningful work indicated an

traditional commercialized, profit-oriented

important connection to strategic process.

projects and businesses.

Design practice, satisfaction and humanized product offering. This four-way thinking

PROJECT DESIGN

diagram (see figure 2) is a tool that can simplify

The design of the project takes on a primary

the complicated practice of design on two

shift of message and voice in order to attract

continuums: satisfaction/dissatisfaction at

and inspire the participation of professional

work and humanized/non-humanized business

designers. The project will be presented to

practice. The four quadrants created by

professional designers with the goal of getting

these two cross-sections identify the elements

them to engage with the mission, a very

created by the following environments:

different goal from the research focus. Rather

satisfaction/humanized work, satisfaction/

than focus on sharing the research, the public

non-humanized work, humanized work/

platform was structured in order to prompt

dissatisfaction work and non-humanized/

change.

dissatisfaction work.

The Heart and Design public platform was

designed to be a visually attractive artifact.

The Satisfaction and Dissatisfaction at work

continuum uses the Herzberg, Mausner, and

It was important to communicate a message

Snyderman’s Satisfaction/Dissatisfaction theory

that resonates with designers who may be

(Herzberg, Mausner, & Snyderman, 1959), which

frustrated with their current role. These visual

indicates that satisfaction is gained through

artifacts are then utilized to present decision-

intrinsic motivators and that dissatisfaction

making heuristics and process cards, which are

includes extrinsic motivators. The humanized

designed to empower professional designers to

and traditional commercial business practice

reimagine their practice.

is defined by consciously working toward the

38 | PROJECT

The illustration (see Figure 4) shows an

overview of the objective oriented framework

artifacts form the foundation of the Heart and

for the Heart and Design project design

Design platform with the intention to guide

plan:

designers seeking meaningful work. The five

Project design goals:

heuristics help to bring consciousness to the

1. Increase awareness of the lack of meaningful

way the practice of design is organized and in

work.

a positive manner. They will also help designers

2. Empower designers seeking meaningful

adjust their personal practice. The process

work.

cards help designers explore a collection of

3. Foster positive synergies.

tools, resources, and inspirational stories.

The downloadable leadership guide is an

These three objective goals are important to

informative resource that includes a summary

the project’s strategy. The goal of each Heart

of meaningful work, creative self-actualization,

and Design designed artifact is to, tactically or

and a step-by-step guide on hosting a Heart

strategically, increase awareness, empower, or

and Design meaningful work event at the

foster positive synergies of meaningful work for

designer’s workplace.

designers.

project included a set of five humanity-centered

Tactical artifact development. The tactical

The heuristic guide: The Heart and Design

Figure 4. The Heart and Design Project: objection oriented organization chart. The objective goal.

The objective of this Heart and Design project is to design a plan for change: increase meaningful work in the contemporary practice of design.

THE HEART AND DESIGN PROJECT |

39

Develop an understanding of meaningful work and the dynamics of the practice of design Design a heuristic model that with the goal of adding meaningful work: increase awareness, empower designers, and foster positive synergies Imagine a variety of workplace scenarios for designers seeking meaningful work

Figure 5. Heart and Design Heuristic model of development. design heuristic guidelines. The goal of all

that either support or hinder meaningful

heuristics is to provide strategies to review

and human motivation. These various ideas

when faced with difficult decisions for designers

were synthesized and then design narratives

who seek to design with heart. For this project,

or scenarios for practical application were

participating in meaningful work requires a

envisioned. (See figure 5.)

deeper level of participation, responsibility, investigation, empathy, and understanding with

The resulting heuristics were a balance of

the given problem and system.

those ideas with each of the five heuristics

The intent of this Heart and Design

designed to support the process adjusting

heuristics was to provide a practical and

the mindset of the designer’s current state

memorable guide in shifting professional

of practice to accomplish the following:

designers’ mindset from the way they currently

1. Increase awareness of the lack

practice to the new state of being with the specific goal of practically incorporating meaningful work into their practice. These five heuristics were built on this project research while also taking into account practical considerations in the workplace

40 | PROJECT

meaningful work in design.

2. Empower designers seeking meaningful work.

3. Foster positive synergies toward meaningful work in design.

MEANINGFUL WORK IN DESIGN HEURISTICS

The heuristics were a culmination of synthesized background research, the research interviews, observations, and designer practical experience. These factors were synthesized with the objective goals to create the Heart and Design heuristics. The heuristics were developed to speak to designers in a supportive, encouraging, and personal voice as follows: 1. DESIGN AS A WHOLEHEARTED PERSON. Design with compassion using your head and your heart to solve problems in a way that makes the world a better place. Work to incorporate your social, environmental and economic perspectives into the entire project plan by incorporating strategic synergies. Professional designers are not just aesthetic artists in a commercial setting. Before others recognize the wholeness of the designer, designers themselves must appreciate their own value to the process, both in and outside of the traditional realm of the design departments. The purpose of this first heuristic is to empower the designers with the notion of their own value.

2. BREAK FREE OF THE DIRECTIVE CONSTRAINTS OF THE DESIGN BRIEF. Seek ways to implement democratic collaborations for each project: strategy, implementation, and completion. Step outside the comfort of the segmented studio environment to apply your core design skills in a new context, connecting individuals to systems, services, organizations, and policies. Democratic collaborations require that all members of the team have responsibility, value, and consideration regarding each other’s specialty provided from their personal and professional experience. At some point in the history of design, designers’ work, the specialty that is design has become almost entirely subsumed by commercial constraints put forward in a design brief.

3. DESIGN WITH EMPATHY. When possible, take empathy to an anthropological level and immerse yourself in the situations, people, and culture you are designing. Designers are skilled “empathicians,” but it is important to be cautious of empathy gathered through assumptions, stereotypes, and outdated best practices. Use the research stage to connect to the idea, emotion, need, and value of the human endeavor. Designers are already skilled at a high level of empathy. This heuristic guideline provides a valuable reminder to keep this skill in mind and continue to develop this skill as a research aid. Empathy is a key, underlying skill to the aspect of designers as cultural intermediaries.

4. REALIGN YOUR PURPOSE. Expand your traditional view of stakeholders to include the customer, the environment, suppliers, and the local community, as well as society at large.

Doing so requires a very conscious shift in externally motived, profit-only oriented best practices to design with the triple bottom line (social, economic and environmental) in mind.

The idea of the expanded stakeholders is a positive way of viewing the idea of not just designing for profit-minded goals within a strictly commercialism construct. Incorporating the idea of a varied system of stakeholders will help designers validate the process of meaningful work.

5. BE EMPOWERED THROUGH DESIGN. The specialty of design is using its core design skills to transform an idea to a valuable and usable product, service, or experience. The practice of design is a powerful resource needed to help business and society transition to materialize, reimagine, reinvent, and create entirely new solutions for the good of humankind, in every endeavor. This particular heuristic is established to bring awareness to designers that they do indeed have the ability to change the dynamic in which they work.

THE HEART AND DESIGN PROJECT |

41

Because adding meaningful work to the

result of the extensive historical, contextual, and

designers practice is likely to be a change

emerging techniques.

in the existing dynamics, it is likely to cause

disruption. The previously listed heuristics,

significant practical challenges in its quest to

used as a decision making process may at times

incorporate more meaning and purpose into the

be problematic to individuals, departments and

practice of design. The first step of the Heart

clients that the designer works with, as well as

and Design project was to bring awareness to

the designer. The intent of the heuristics is to

designers frustrated with the lack of meaning

make this process that is likely to be disruptive

within their professional practice. The problem

process, as straightforward as possible.

surrounding the lack of meaningful work in

The heuristics were envisioned to be a flexible,

design has been established in the design

usable, and understandable decision-making

community. Calls-to-action and manifesto on

aid in the practice of humanity-centered

the practice have been raised by influential

design. In addition to the heuristics guide, a

designers about their own practice.

set of process cards was created as a combined

42 | PROJECT

The Heart and Design project faces

F

FINAL SUMMARY AND IMPLICATIONS

(Herzberg, Mausner, & Snyderman, 1959), it also

defined the difference between a purpose at

The primary motivation for this study was

that designers lacked meaning and purpose at

work (provide for your family and complete

work. Initially, the proposed theory reasoned

projects that satisfy the needs of clients) and

that a more meaningful product or service was

meaningful work (lending voice to projects that

the key to a more meaningful practice. Many

connect the work to a meaningful purpose).

businesses, particularly ones that specifically

seek to have a more compassionate and

theory regarding creative self-actualization

meaningful business structure, still overlook

indicates that, as designers achieve high

their own human resources as a way to

levels of creativity at work, it results in

humanize their organization and workflow.

creative self-actualization. According to

From a professional designer’s perspective,

Maslow, the “effect is that the creativity of my

one can then theorize that the lack of input on

subjects seemed to be an epiphenomenon

strategy, implementation, and completion of

of their greater wholeness and integration”

the designed project is a primary source of the

(Maslow, 1974, p. 26). This state of being, as a

designer’s frustration. A variety of influential

consequence means “they waste less of their

designers expressed the link the designer’s

time and energy protecting themselves against

frustration to the commercial application of

themselves” (Maslow, 1974, p. 26) and are then

their practice. These designers (Brown and

primarily concerned with empathic oriented

Kutz, 2009, Glaser, 2000; Buchanan, 1998, 2001;

problem solving and creative making.

Hall & Sagmeister, 2001) urge professional

designers to develop responsibility in their

restricted by commercial constraints to the

practice and separate their practice from the

extent that their work “activities involve only

constraints of commercialism. Where would

a limited degree of subjective control” (Soar,

that lead the practice of design whose ma jority

2002, p. 571). Based on Maslow’s theories,

of professionals’ role it is to facilitate the desires

the creative endeavor of design is likely to

of business?

lead to a state of creative self-actualization.

One could posit those designers’ frustrations

This question led to the further investigation

In addition to meaningful work, Maslow’s

Designers in their professional practice are

of what causes the frustrations designers

stem from the degree to which others control

feel in their workplace and the adoption of

their practice. Theses frustrations are further

the heuristic-style intrinsic research process,

accentuated by the designer’s internal struggle

research regarding meaningful work and

to resolve the dichotomies of commercialism

contemporary practice of design. Why was

and solve problems utilizing a broader range

it that designers went into the professional

of objectives. On a positive note, within the

practice of design with a full understanding of

root of this frustration also exists the designer’s

their role in facilitating the commercial needs

creative power.

of business, but over time grew increasingly

frustrated with their role in this regard?

the full contribution a designer is able to

make is diffused by the directed construct

To answer this question, it was important to

Until this creative power is unleashed,

understand the constructs of meaningful work

of the projects and practice of design. The

and how it is achieved. The background and

emergence of a variety of design disciplines,

related work presented a clear understanding

such as system, environment, experience,

of meaningful work as explained by Chalofsky

and social design, reflect the need and

(2010). Using Herzberg, Mausner, and

appropriateness of design to participate in

Snyderman’s satisfaction/dissatisfaction theory

the strategic process. While those emerging THE HEART AND DESIGN PROJECT |

43

specializations are exciting developments, the goal of this project was to inspire a more

IMPLICATIONS FOR THE FIELD OF DESIGN

widespread method for designers to add

Designers cannot fully control how businesses

meaning and value to the process of design.

utilize their skills, but they can create

When business is presented with a cognitive,

opportunity for themselves in the sense of

strategic challenge, does it look to its creative

being ready to contribute. The Heart and

team to help solve the problem at hand?

Design project advances awareness and

provides skills and techniques to empower

Raising awareness of the lack of meaningful

work within the practice of design is the first

designers to create synergies connecting their

step in creating opportunity for change.

practice to meaningful work. For this reason,

Developing systems that democratize the

democratization of workflow regarding all

projects from strategic launch to completion

aspects of their specialty seems to be the first

is likely to decrease many of these frustrations

step in adjusting the constraints experienced by

experienced by designers in all types of

most professional designers.

businesses. For businesses whose products

strive to incorporate humanized considerations

intermediary, applied to a broader context of

of human, environment, and economic concerns,

problems, represents the untapped resource of

there seems to be a tendency to overlook the

the practice of design. This project involves a

need to also humanize their workforce along

paradigm shift from businesses’ linear machine-

with their product or service.

like organization structure to one that fosters

creativity, collaboration, and humanization

It is important that the Heart and Design

The power of design as a cultural

project to raise awareness, initiate an

of what a business does as well as how their

actionable plan, and then build a community

workforce is organized. As businesses become

that provides support for designers seeking

more humanized, their human resources are

meaningful work. As designers become

likely to become less linear and segmented

empowered to utilize the skills they already

in their structures. There is a need for this

possess in new and varied context, they gain

type of thinking for businesses that seek

confidence and skills needed to participate

creative responses to existing problems and

fully during the strategic development stage.

untapped income streams. For business seeking

Professional designers that have the tools and

innovative ideas, their existing creative design

confidence to add designed value to a project,

team may be more of a resource than they

they will naturally be called on to participate in

realize. The designers businesses currently

this process.

employ may be able to provide a valuable

44 | CONCLUSION

PROJECT REFLECTION This project started years ago with one frustrated designer who knew it was possible to make a bigger impact using design. Perhaps unoriginally, this led this designer-research to graduate school to seek a different course and way to practice design. Upon further researcher, it was clear that there are parallels between this designer-researchers own design journey and the broader profession of design.

The practice of design it seemed valued productive replication and

formulaic solutions. A designer who sets out to follow their passion only to be disillusioned with a work environment that admonished true creative speculation. Work environments that rather than empower its workers in a way that gets the most out of their skills and knowledge, constrains and restricts their work so much to the point that they feel marginalized as a human.

With creativity and vision, the way things are can change, but it needs to

rethink the way we, as designers, practice. For designers with heart, time of crisis and paradigm shifts such as humanized businesses; create opportunity to realign your purpose in a way that makes your work and the world better.

Designers have the ability to influence their work environment, the businesses they work for and the world around us.

Design that has social impact has much more significance than design

for commercial reasons alone. Giving a designer a voice to help change the tra jectory of a project, to add meaning and impact to the project will in turn add meaningful purpose to their work. Eliminating or ignoring the commercial application of design is not only unrealistic and unimaginative; it overlooks the source of the problem for designers seeking meaning in their work.

For designers, the way we work as directed, service oriented aesthetical

artifact creators it is hard to imagine another way of being. It is time to redesign your own practice. Imagine the type of practice we imagined when we started our professional journey. A practice in which design is an imaginative process beyond typefaces and color schemes, one that values creative speculation and that designers are utilized to manifest the beauty of the unknown.

THE HEART AND DESIGN PROJECT |

45

resource for more insightful, human, and pragmatic perspective on the challenge that the business is facing.

Designers have the ability to perceive the issue through a different lens, designing a solution that others in the business may not have considered before.

It is time for designers to transcend

their service role of blindly facilitating the goals of business. As design steps into its strategic role, it must also shed its protective shield of complacency and replace it with more unprotected feeling of responsibility.

As our systems face large-scale disruptions, it is shortsighted for the systems’ strategists to overlook the creative department in the process of developing innovative solutions.

This project is working toward integrating the skills of design as a valuable resource for creating and implementing design toward meaningful work. As a profession, design has a responsibility to emerge from the comfort of the creative department (Brown and Katz, 2009) and immerse itself into real-world, complicated problems and their corresponding solutions. As the expanded need for complicated designed solutions becomes more prevalent, the role of designer must also evolve so that their voice is heard and valued.

Experienced designers subconsciously produce things with empathy, style, and shared values to

solve problems. The next level of design is to incorporate these skills in a way that provides meaning through a valuable contribution to our world. When design is able to create value within its practice, businesses seeking to solve complicated problems will naturally look to their design teams as part of the collaborative effort in solving complicated problems. Practicing designers who are prepared to participate in the strategic development process will have the opportunity to practice with more heart.

Everyone, designers included, have the right to be heard, to contribute to society with meaning and

purpose, and to experience a happy, fulfilled professional life. By utilizing existing skills and applying them to bigger, more complicated problems, designers at all levels have the insight, sensitivity, and empathy to create heart-felt solutions to very complicated problems. Each unique designer has the ability to influence positive change. Designers who adapt these methods, who practice in a more meaningful way have the potential to model a new way of being. At some point, a new dynamic is created between designers and those who utilize design to solve complex wicked problem. The end result is an unleashing of collective power of humanity-centered design. This collective power is perhaps society’s greatest untapped resource.

46 | RESEARCH

THE HEART AND DESIGN PROJECT |

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612.644.9910 | mary@heartdesignproject.com twitter: make_shift_hppn | facebook: facebook.com/heartdesignproject www.heartdesignproject.com AN MFA IN DESIGN THESIS PROJECT - UNIVERSITY OF WISCONSIN STOUT