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VIP Vision in Design: A Guidebook for Innovators
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About VIP Vision In Design: A Guidebook For Innovators
Product Description Vision in Product Design strikes a good balance between structuring the process of design while allowing the designers to take a personal position and fully express themselves in producing a product. ViP is both a method and a design philosophy. From the Inside Flap This book is about the design approach ViP, Vision in Product design. ViP is the label of a method that first and foremost supports innovators of any kind to design’ the vision the raison d’etre underlying their design. This vision is firmly rooted in a deliberately constructed future world. Since the vision defines the goal and not the means, the method can be applied in innovation processes of any kind. Hence its current title: Vision in Design. From the Back Cover This book is about the design approach ViP, Vision in Product design. ViP is the label of a method that first and foremost supports innovators of any kind to ‘design’ the vision – the raison d’etre – underlying their design. This vision is firmly rooted in a deliberately constructed future world. Since the vision defines the goal and not the means, the method can be applied in innovation processes of any kind. Hence its current title: Vision in Design. About the Author Paul Hekkert is Professor of Form Theory and in the faculty of Industrial Design Engineering at TU Delft University in Holland. Matthijs van Dijk is CEO of KVD design consultancy and Professor of Applied Design at TU Delft. Excerpt. © Reprinted by permission. All rights reserved. Foreword By Peter Lloyd The first edition of Design Methods: Seeds of Human Futures was written in 1970. It’s author, John Chris Jones, sensing a growing complexity in technology, and concerned that designers should make their decisions demonstrable, looked at how to formalise the process of design. No longer should design be a craft process, a slow intuitive shaping of form and function, but a structured, controlled process. We should really know what we are doing when we design,” thought Jones. In the America of the 1960s, designers like Henry Dreyfus had already begun to integrate ergonomic studies into the process of design; Jones just took the idea a bit further. Design Methods introduced systematic ways of analysing a wide range of what might be termed situations’. The methods themselves had been inspired by the precision found in scientific language: investigating, selecting, classifying, ranking, and weighting. The design process itself was a process of divergence, transformation, then convergence; paradoxically inspiring something vaguely religious-sounding, like three consecutive John Coltrane albums. It turned out to be a fully realised theory of designing. Designers could now exercise their creativity from solid theoretical ground not the shifting sands of individual craft knowledge. And other designers could stand proudly with them. That was the theory anyway; in many ways it was laudable. After all, it was human futures that we were talking about, the seeds of a new world. History tells it somewhat differently, of course, as history would. The book was well received, a breath of (nearly) fresh air. More power to the fist of the designer who, slowly but surely, began to thump the cover of the book in design meetings. This is how we’ve done it” he’d say (for it was mostly a he), we followed the method, we did the analysis, we know this is the right decision because it was properly ranked and weighted”, he’d continue, the solution structure perfectly fits the problem structure.” The misgivings anyone had were forced to adopt the same language and consequently were revealed as a sham. Indefinable judgement, a niggling feeling that things were not quite right, was ignored unless evidenced. The book thumping continued as text was quickly transformed into pretext. Once the boat was floating, other people clambered aboard, desperate to be part of the journey. The -ologist” the not-quite scien
