The idea of using an existing character to fill out the design thinking exercises may not produce better design, but it may produce more effective design communication.
In the context of design, the conceptual model as genotype rather than prototype could allow it to function more abstractly by deflecting attention from an aesthetics of construction to an aesthetics of use.
It’s interesting to see how most of these notions have by now been implemented, either by Apple itself or by various other hard and software providers.
Why didn’t Philips’ Visions of the Future turn into winning products?
Some people (they are wrong) say design is about solving problems. Obviously designers do solve problems, but then so do dentists. Design is about cultural invention.
Sometimes the filmmakers—the science fiction writers—imagine stuff before the engineers do, and there is a feedback loop between fiction and science that seems to be influencing each other,
Design seeks out ways to jump over its own conceptual walls-scenarios, user observation, brainstorming, rapid prototyping, critical design, speculative design. There is even “experience design,” which is surely the most imperial, most gaseous, most spectral form of design yet invented.
Simon’s “critical artefact” methodology is based on the idea that provocative design concepts can stimulate people to debate their needs and desires in a more open way, allowing the designer to identify new concepts.
The term critical design was popularised in Anthony Dunne’s book Hertzian Tales. In it Dunne introduces the idea of product design and electronic objects fusing into critical design where the object functions as critique. Critical design has since been adopted as an umbrella term for any type of design practice which suggests that design offers possibilities beyond solving design problems.
[We start by] mapping assumptions within and outside of an organisation about the future, and animate these ideas as tangible evidence of the future. Both negative and aspirational futures are embodied as designed touch-points. We focus as much on the effects of possible designs as the design of the service itself.