Effective Edtech User Centred Design: Why you should sit down for a cuppa with a potter
Pottery and tea drinking have an interlinked history stretching back thousand of years. As a lover of both pottery, educational material design and tea drinking there are compelling reasons to look across disciplines to see if we can learn anything that will help inform future edtech design.
Form Follows Function Follows Behaviour
The term form follows function was an early principle of post modern industrial design which said the purpose of a building should be the starting point for its design. The term was later adjusted to the much more helpful "form and function are one" by the architect Frank Lloyd Wright2.
This means design requires that the form, how a product is made, and function, to what purpose the user has for your product, should equally inform the design process. Nowadays we would say good design also take into account behaviour which incorporates in varying degrees how a user uses your product, the environment in which it will have to perform , and the expectations the user has for it. (Graphic 1).
Behaviours are fluid and the focus changes according to shifting performance, expectation and environmental demands. Time saving habits, reward systems, gamification and disruptive technology are some factors which affect behavioural change, for example.
Understanding the matrix of behaviours (graphic 2), and the factors which can influence this gives us the best chance of meeting genuine user needs. Deep observation is the number one tool of the artist designer . Nowadays it is known as human-centred design. And that is why sitting down for a brew with a potter might be just the best edtech user experience decision you can make,
Form Follows Function Follows Behaviour
The term form follows function was an early principle of post modern industrial design which said the purpose of a building should be the starting point for its design. The term was later adjusted to the much more helpful "form and function are one" by the architect Frank Lloyd Wright2.
This means design requires that the form, how a product is made, and function, to what purpose the user has for your product, should equally inform the design process. Nowadays we would say good design also take into account behaviour which incorporates in varying degrees how a user uses your product, the environment in which it will have to perform , and the expectations the user has for it. (Graphic 1).
Behaviours are fluid and the focus changes according to shifting performance, expectation and environmental demands. Time saving habits, reward systems, gamification and disruptive technology are some factors which affect behavioural change, for example.
Understanding the matrix of behaviours (graphic 2), and the factors which can influence this gives us the best chance of meeting genuine user needs. Deep observation is the number one tool of the artist designer . Nowadays it is known as human-centred design. And that is why sitting down for a brew with a potter might be just the best edtech user experience decision you can make,
Graphic 1. D. Frith
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Graphic 2. Network of Behaviours
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Raku IX (Ryōnyū) (Japan, 1756-1838) Los Angeles County Museum of Art [Public domain]
Balancing Form, Function, and Behaviour
The earliest evidence of tea drinking dates to 2nd century B.C. China. The ceremonies which accompany early tea drinking culture have a similar history and continue to this day. The Raku process is one ceramic style which produced cups for the tea ceremony in 16th century Japan. Raku is particularly interesting from a design point of view because it demonstrates a perfect example of this balance between form, function and behaviour.
The cup in the Japanese tea ceremony is more than just a vessel for drinking. But the way it is made is intrinsic to how it is used. The explanation below highlights how form and function are barely indistinguishable in Raku from behaviour.
“… these [Raku] tea bowls are shaped so that both hands can snugly wrap around the circumference … Indeed these radical tea bowls mark the turning point when tea ceremony became about the tea and not about the tea utensils.” 3
Form, Function, and Zen
Raku and Zen Buddhism are closely linked; Raku actually means “happiness in the accident”. The Raku ceramicist embraces the natural Raku process precisely because it is difficult to control. It is not just that the process comes with a high risk of failure but it is the very unpredictable nature of the final outcome, the uniqueness, that imbues the successful Raku piece with its special quality.
We have already discussed how behaviour (and environment) requires the cup to fit into the users hand but here despite a rigorous production process the risk of failure is what ultimately increases the ceremonial experience. At times, it seems impossible to fully untangle how something is made, from what it is used for, from how it is used, from the users expectations. In Raku, continuous experimentation and risk taking is essential in the search for balance between form, function and behaviour.
“… raku ware touches on many of the things that Zen philosophy embodies, most notably its simplicity and naturalness. …In raku firing all of nature's elements are used, earth, fire, air and water. The earth is used to make the pot, then it's put into a […] kiln, then plunged into water. The cold water halts the firing process.”4
Zen like behaviour
Far from the Raku risk taking, utilitarian objects require the same acute understanding of form, function and behaviour. The humble cup and saucer depend heavily on research, sketching, prototyping and scalability to investigate the best fit in the hand, the best curve for the lip, the curve of the handle, the balance between cup and handle, the compatibility between cup and saucer, even its suitability for mass production. In short, its all about the final experience. Unlike Raku, the cup and saucer prototype can be thrown over and over to gain the most aesthetic curves. The type of clay and decoration can increase the value. But its functional success depends entirely on how well it sits on the saucer. Whether the cup wobbles on the sauser or drips between lips may be the the simplest case possible of where form follows function follows behaviour and expectation - the experience.
The earliest evidence of tea drinking dates to 2nd century B.C. China. The ceremonies which accompany early tea drinking culture have a similar history and continue to this day. The Raku process is one ceramic style which produced cups for the tea ceremony in 16th century Japan. Raku is particularly interesting from a design point of view because it demonstrates a perfect example of this balance between form, function and behaviour.
The cup in the Japanese tea ceremony is more than just a vessel for drinking. But the way it is made is intrinsic to how it is used. The explanation below highlights how form and function are barely indistinguishable in Raku from behaviour.
“… these [Raku] tea bowls are shaped so that both hands can snugly wrap around the circumference … Indeed these radical tea bowls mark the turning point when tea ceremony became about the tea and not about the tea utensils.” 3
Form, Function, and Zen
Raku and Zen Buddhism are closely linked; Raku actually means “happiness in the accident”. The Raku ceramicist embraces the natural Raku process precisely because it is difficult to control. It is not just that the process comes with a high risk of failure but it is the very unpredictable nature of the final outcome, the uniqueness, that imbues the successful Raku piece with its special quality.
We have already discussed how behaviour (and environment) requires the cup to fit into the users hand but here despite a rigorous production process the risk of failure is what ultimately increases the ceremonial experience. At times, it seems impossible to fully untangle how something is made, from what it is used for, from how it is used, from the users expectations. In Raku, continuous experimentation and risk taking is essential in the search for balance between form, function and behaviour.
“… raku ware touches on many of the things that Zen philosophy embodies, most notably its simplicity and naturalness. …In raku firing all of nature's elements are used, earth, fire, air and water. The earth is used to make the pot, then it's put into a […] kiln, then plunged into water. The cold water halts the firing process.”4
Zen like behaviour
Far from the Raku risk taking, utilitarian objects require the same acute understanding of form, function and behaviour. The humble cup and saucer depend heavily on research, sketching, prototyping and scalability to investigate the best fit in the hand, the best curve for the lip, the curve of the handle, the balance between cup and handle, the compatibility between cup and saucer, even its suitability for mass production. In short, its all about the final experience. Unlike Raku, the cup and saucer prototype can be thrown over and over to gain the most aesthetic curves. The type of clay and decoration can increase the value. But its functional success depends entirely on how well it sits on the saucer. Whether the cup wobbles on the sauser or drips between lips may be the the simplest case possible of where form follows function follows behaviour and expectation - the experience.
Niche Experience
Recognising changes in the environment
Design during the early 20th century responded predominantly to demand for time saving devices which was seen in the proliferation of home appliances. Similarly, the purely functional mug has slowly but surely relegated the cup and saucer to the role of niche experience or whimsy relic for many western tea drinkers who find themselves in a 21st century rush. When highlighting the success of the mug we should also recognise the disruption caused by the tea-bag's simultaneous innovation. Think too then of the disruptive consequences: increased volume of liquid available in one serving, transportable tea, obsolete components (strainer), creation of other niche industries (teapot), scalability, and even changing tastes towards a lighter tasting tea. In this case it's hard to argue that, despite some stiff upper sniffiness, behaviour has been completely changed by the environment and design. In edtech this kind of disruption is caused by new technology, infrastructure, policy, and financial speculation. It also highlights where the competition can change the game completely.
Design during the early 20th century responded predominantly to demand for time saving devices which was seen in the proliferation of home appliances. Similarly, the purely functional mug has slowly but surely relegated the cup and saucer to the role of niche experience or whimsy relic for many western tea drinkers who find themselves in a 21st century rush. When highlighting the success of the mug we should also recognise the disruption caused by the tea-bag's simultaneous innovation. Think too then of the disruptive consequences: increased volume of liquid available in one serving, transportable tea, obsolete components (strainer), creation of other niche industries (teapot), scalability, and even changing tastes towards a lighter tasting tea. In this case it's hard to argue that, despite some stiff upper sniffiness, behaviour has been completely changed by the environment and design. In edtech this kind of disruption is caused by new technology, infrastructure, policy, and financial speculation. It also highlights where the competition can change the game completely.
Observing Behaviour
On the face of it there is nothing ceremonial or ritual about choosing a mug from a selection of random cups yet if we watch behaviour we can understand the complex algorithm making up each persons' selection of the best available match for their needs.
Firstly, we’ll consider the Premium Ware, this is personalised and therefore belongs to someone, next we consider the Free Ware. Similar in all but the UI to the Premium ware, it has the same tried and trusted ergonomics and presents a safe option by avoiding awkward intimacy. Random Ware may have an odd design that offers a plausible option yet threatens disappointment, especially if its a coffee cup masquerading as a tea mug. Niche Experience Ware carries the ghost of a lost owner, It may be quirky and isn't really plausible despite having the potential to do the job. Ultimately it is a high risk choice, outside of peoples safe zone and therefore with little chance of fulfillment. Finally we have the Mugs of Last Resort. Usually found lurking at the back of the cupboard. The lip is probably too wide (form), it may be too big (function), its probably stained inside (expectation) but it is has potential to be highly valuable in relation to the other options. Empathy for this kind of human behaviour is fundamental to understanding the chances of success of any design project.
On the face of it there is nothing ceremonial or ritual about choosing a mug from a selection of random cups yet if we watch behaviour we can understand the complex algorithm making up each persons' selection of the best available match for their needs.
Firstly, we’ll consider the Premium Ware, this is personalised and therefore belongs to someone, next we consider the Free Ware. Similar in all but the UI to the Premium ware, it has the same tried and trusted ergonomics and presents a safe option by avoiding awkward intimacy. Random Ware may have an odd design that offers a plausible option yet threatens disappointment, especially if its a coffee cup masquerading as a tea mug. Niche Experience Ware carries the ghost of a lost owner, It may be quirky and isn't really plausible despite having the potential to do the job. Ultimately it is a high risk choice, outside of peoples safe zone and therefore with little chance of fulfillment. Finally we have the Mugs of Last Resort. Usually found lurking at the back of the cupboard. The lip is probably too wide (form), it may be too big (function), its probably stained inside (expectation) but it is has potential to be highly valuable in relation to the other options. Empathy for this kind of human behaviour is fundamental to understanding the chances of success of any design project.
Rolex Award Laureate Mohamed Bah Abba (1964 - 2010)
Transformation and Disruption
In 2005 Mohammed Bah Abba (photo right) invented the pot in a pot which has transformed lives in parts of rural Nigeria.5 As with the Spanish botijo6, the chemistry involved is simple and was well known in Egyptian times.
Mohammed took the local ceramic skills plus this technical knowledge to create a solution which allowed people to save perishable food and drink cool water. In a rural environment with no reliable electricity this innovation allowed villagers to keep aubergines fresh for 27 days rather than the usual 3. There is a clear link between Bah Abba’s pot design, his craftsmanship, and meeting user needs. A happy consequence of this innovation was the disrupted behaviour which saw enriched diets, a new industry created, and lowered risk of illness 5 This was achieved without simultaneous innovations and little expectation however its impact was profound. In Edtech this might mean addressing an administrative school pain point that transforms the environmental and behavioural needs across which users haven't yet imagined.
Anticipating Changes in Behaviour
The almost obsolete tea pot tells a story of changing tastes and behaviours in the last 60 years. A continuous fall in consumption may challenge even the Premium and Free Ware design eventually if the switch to on-the-go coffee and soft drinks continues, however this also opens the opportunity as a designer to investigate premium products and high quality niche user experiences.
The changes described here occur slowly over long periods and are based on fairly predictable needs and deeply ingrained behaviours. Edtech design has the potential to be equally disruptive and even change users expectations but design and build must go hand in hand with deep understanding of the balance between what people want from the product, how they intend using it and in what circumstances it will be used.
In 2005 Mohammed Bah Abba (photo right) invented the pot in a pot which has transformed lives in parts of rural Nigeria.5 As with the Spanish botijo6, the chemistry involved is simple and was well known in Egyptian times.
Mohammed took the local ceramic skills plus this technical knowledge to create a solution which allowed people to save perishable food and drink cool water. In a rural environment with no reliable electricity this innovation allowed villagers to keep aubergines fresh for 27 days rather than the usual 3. There is a clear link between Bah Abba’s pot design, his craftsmanship, and meeting user needs. A happy consequence of this innovation was the disrupted behaviour which saw enriched diets, a new industry created, and lowered risk of illness 5 This was achieved without simultaneous innovations and little expectation however its impact was profound. In Edtech this might mean addressing an administrative school pain point that transforms the environmental and behavioural needs across which users haven't yet imagined.
Anticipating Changes in Behaviour
The almost obsolete tea pot tells a story of changing tastes and behaviours in the last 60 years. A continuous fall in consumption may challenge even the Premium and Free Ware design eventually if the switch to on-the-go coffee and soft drinks continues, however this also opens the opportunity as a designer to investigate premium products and high quality niche user experiences.
The changes described here occur slowly over long periods and are based on fairly predictable needs and deeply ingrained behaviours. Edtech design has the potential to be equally disruptive and even change users expectations but design and build must go hand in hand with deep understanding of the balance between what people want from the product, how they intend using it and in what circumstances it will be used.
Bibliography
1 http://www.tate.org.uk/context-comment/blogs/tate-debate-when-craft-art
2 https://www.guggenheim.org/arts-curriculum/topic/form-follows-function
3 http://japanese-tea-ceremony.net/raku-ware.html
4 https://www.thespruce.com/raku-2746086
5 http://blog.rolexawards.com/2013/03/the-desert-refrigerator/
6 http://www.botijopedia.com/en/cooling.php
https://en.wikipedia.org/wiki/History_of_tea#Early_history
https://www.telegraph.co.uk/finance/newsbysector/retailandconsumer/11782555/Is-Britain-falling-out-of-love-with-tea.html
http://worldteanews.com/news/global-tea-production-2015
1 http://www.tate.org.uk/context-comment/blogs/tate-debate-when-craft-art
2 https://www.guggenheim.org/arts-curriculum/topic/form-follows-function
3 http://japanese-tea-ceremony.net/raku-ware.html
4 https://www.thespruce.com/raku-2746086
5 http://blog.rolexawards.com/2013/03/the-desert-refrigerator/
6 http://www.botijopedia.com/en/cooling.php
https://en.wikipedia.org/wiki/History_of_tea#Early_history
https://www.telegraph.co.uk/finance/newsbysector/retailandconsumer/11782555/Is-Britain-falling-out-of-love-with-tea.html
http://worldteanews.com/news/global-tea-production-2015
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Storytelling in Education
This educational project uses free to use online tools and mobile resources like Augmented Reality, Google Maps, Twitter and Thinglink, etc; to tell a story through 21st century teaching practice.
The real focus is not on the tools themselves but the skills and the processes which are fundamental to creating engaging, meaningful learning. The pedagogy is always first, in FutureEdx digital resources only facilitates the learning. The video right explains the project but for the moment requires a password. Please email or Tweet me for access if you are interested.
Follow @Bertacus
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Bertacus
A tale this good just has to be told - a journey back from the depths of human misery. A story of survival, perseverance and resilience. Of forgiveness and hope overcoming hatred and shame - of Battles, Medals and Sport. A Greek classic. Bertacus of Bremen, indeed.
Storytelling in Education
This educational project uses free to use online tools and mobile resources like Augmented Reality, Google Maps, Twitter and Thinglink, etc; to tell a story through 21st century teaching practice.
The real focus is not on the tools themselves but the skills and the processes which are fundamental to creating engaging, meaningful learning. The pedagogy is always first, in FutureEdx digital resources only facilitates the learning. The video right explains the project but for the moment requires a password. Please email or Tweet me for access if you are interested.
