Offering Delight: One Endeavor Ends, Another Continues

Photo: Jim Urquhart

After nearly four years of regular posts, written and illustrated to offer delight, this is the final Discover entry. We thank you for lending us your eyes and hope that we’ve been successful in sharing what inspires us and, in doing so, have inspired and delighted you.

We encourage you to train your gaze toward our Lifework (if you haven’t already made it a place you visit regularly). It will continue our legacy of fine writing and beautiful images, and it will carry on two features that have been a mainstay of Discover: Eye Delight (compelling images with a curious twist) and Sighted (our products in interesting environs).

Communication by Constraints

A diagram drawn by Charles Eames to explain the intersecting concerns of a design problem.

“Design,” said Charles Eames, “depends largely on constraints.” That quote came to mind listening to John Pugh’s recent presentation at PSFK Conference London. As director of digital communications for pharma firm Boehringer-Ingelheim, Pugh knows a thing or two about constraints; few industries are as regulated as pharmaceuticals.

But is Pugh whining? No. Echoing Eames, he says “restrictions force us to create.” Pharma companies do great work under strict constraints when it comes to researching and developing drugs, notes Pugh; they need to be just as creative in promoting themselves, and using social media to do so, despite regulations and a history of not doing it very well.

That attitude fits the view Eames articulated about design: “Here is one of the few effective keys to the design problem: the ability of the designer to recognize as many of the constraints as possible; his willingness and enthusiasm for working within these constraints.”

Design Writing

George Nelson, designer and Design Director for Herman Miller from 1946 to 1972, has written that “every design in some sense is a social communication.” So what is design saying? Nelson spent a good deal of his life answering that question, along the way skewering those “social communications” that weren’t worth listening to.
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What Does It Take to Weave Community in the Workplace?

Many things, of course, and certainly the workplace’s architecture and furniture (maybe even where the boss sits). But primary among them is to know something about how people are feeling, what they’re thinking, what motivates them, and, yes, what irritates them. Community Pulse—an interactive tool we offered recently to our website and trade show visitors—gauged what’s on people’s minds when it comes to work. Their answers fed into a real-time infographic that added to responses from the larger community. We hope this Q&A exercise will get all of us thinking about what fosters community in the workplace.

Designing Offices Against the Curve

A body at rest tends to stay at rest. Just ask T.J. Allen. His research of communications and its relation to collaborating led to the idea of the Allen Curve: the more distance there is between people, the less they will communicate. The effect really kicks in at 50 meters, or 150 feet.

Designing offices to be more compact is one way to counter an aversion to taking a walk at work. This ends up being a win-win for the business: People talk more (coming up with better ideas) and real estate costs go down.

Smaller offices and places for people to gather or bump into one another, as J. Michael Welton writes about in The New York Times, shared offices, compact conference rooms equipped with technology, quiet spots to get away from it all, choices in where to work given the task at hand, all these are elements in creating the right balance. That’s key. Intelligent remixing between individual offices and group and community areas, as opposed to simply shedding real estate, is necessary for enabling one of the organization’s largest resources—its human talent.

Designing the Workplace to Be Less and More

There are lots of forces at play in today’s workplaces. People are drawn to the buzz of activity. Ask, and most of them will tell you they’re more productive, more energized, and more engaged when they’re around other people. So it makes sense to shrink the size of offices; it not only brings people closer together, which can foster collaborating, but it also cuts real estate costs. Given that many offices aren’t being used, the trend toward compacting offices is understandable; nothing kills the buzz in an office faster than a bunch of empty workstations.

All that togetherness can cause problems, though, with cries for quiet piercing the office buzz. Putting people too close together without places they can go to concentrate can backfire. That’s why smart companies are using some of the real estate they save to design other types of spaces, such as community zones, gathering areas, quiet rooms, and phone booths, so people have choice and variety in where they work. These companies are cutting real estate costs while giving employees a better workplace. It becomes a matter of making real estate work harder, so it costs less and it gives people an appealing, inspiring place where they can to do their best work.

Dematerialization by Design

It’s a 50-cent word, but “dematerialization” just might save us millions, to say nothing of our planet. The basic idea is getting down to only what is essential, or, as Charles Eames said in the 1940s, “the best for the most for the least.”

Doing more with less certainly predates Mr. Eames, but dematerialization has had a resurgence lately, largely as a response to conspicuous consumption (McMansion anyone?), a throwaway culture (it’s cheaper to buy a new one than fix the old one), and planned obsolescence (as Annie Leonard says in The Story of Stuff, only 1% of things are still in use 6 months after purchase).

It’s no wonder those concerned about sustainability see promise in dematerialization, an idea whose logic train goes from using less material to eliminating material altogether while still delivering the same level of functionality. An example of this promise they often point to is music delivery. From LPs to cassettes to CDs to digital downloads, the progression eliminated lots of plastic waste and the resources and energy needed to make it. (The sustainability costs of using the Internet to download the music will be left to another discussion.)
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Authentic Modern Design Now on Display at NYC Pop Up Shop

Today marks the opening of the Herman Miller Pop Up Shop at 68 Wooster Street in the heart of Soho in New York City. Designed to highlight the new Herman Miller Collection, the shop features richly detailed furniture vignettes with accessories and objects to complement. Each is created to tell design stories past and present. We invite you to add the shop to your itinerary if you travel to Manhattan between now and July 1. The store is open Monday through Saturday, 11 am to 7 pm, and Sunday 12 noon to 5 pm.
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Design with Constraints

Herman Miller's new Quilty textile mimics the water and oil repellant properties of a lotus leaf.

Biologist, innovation consultant, and author, Janine Benyus has dedicated her life to the idea that learning from natural models is the best way to achieve sustainable design. Through her Biomimicry Guild, she has inspired companies to look to nature as model, measure, and mentor in the design process.

She has a lot in common with Charles Eames, who said that design “depends largely on constraints.” For Benyus, it’s a matter of the way everything on earth, with the regrettable exception of most humans, learns to live within nature’s limits. Read more

Adapting Design to the Digital Age

One of the big appeals of technology devices is that they get smaller and more powerful with each successive design. This trend toward miniaturization makes these devices easier to carry and store, and much more convenient to use, which affects how we live and work. The logical conclusion for miniaturization—implanting computers in our bodies—is now less the stuff of science fiction and more a matter of future labs.
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