Design Archive

The Father of User-Centered Design: “The Measure of Man”

The Measure of Man: Human Factors in Design

The Measure of Man: Human Factors in Design is the most incredible book. Written by celebrated industrial designer Henry Dreyfuss, the book was first published in 1959, and is now available as the politically correct The Measure of Man and Woman. The tri-fold pocketed second edition you see above (with contents below) was published in 1967.

The Measure of Man: Anthropomorphic Charts

The book contains 32 black and white anthropometric charts on heavy card, which describe every detail of how the human body functions – from movement to growth – covering both sexes and different body types.

Life-size human charts

Two life-size human figure charts are included (one male, one female, white on blue); I’ve shown one above with a CD for scale. These would look great on the wall of any modern design or usability agency.

Reaction Times

Human Versus Machine

My favourite part is also the least exciting aspect of the package (in terms of physical format): the tables of data in the 20 page book. That sounds like a fairly thin book, but it’s packed with incredible data and insight into human-focused design. These don’t just cover typical ‘ergonomic’ topics, but also more modern subjects that include the accuracy and function of displays.

It’s not the kind of book you can sit down and read on the train, but it’s a breath of fresh air to read something so well researched, and full of quality data, with none of the filler so-typical of modern books.

Post It History

In our seemingly digital driven modern world, it is often said paper is dead. Yet one paper product challenges this thinking: the humble Post It. A simple, yet distinctive design, the Post It is instantly recognisable and remains essential office/home stationery, as well as appearing in the art world amongst art works and installations.

In 1968 Spencer Silver, a scientist working at the adhesive 3M company laboratory, stumbled upon a glue that had such an unique pressure sensitive consistency, it was re-useable. It crucially also did not leave a residue. Silver saw the great possibilities in this accidental discovery, yet was unsuccessful in persuading 3M to persue its possible capabilities into an actual product.

Spencer Silver

Spencer Silver

Six years later, Art Fry, another scientist/product inventor at 3M, was attending church when he became increasingly frustrated at losing his place in his hymn books. His bookmarks were falling out of the pages. Suddenly, he had a divine intervention. What if the bookmarks were stuck to the page, with a light, re-useable adhesive that would not damage the page? He was already aware of Silver’s creation, but had suddenly envisioned the perfect niche to maximise its potential.

Art Fry

Art Fry

Together, Spencer Silver and Art Fry returned to 3M and developed the product. The Post It was finally launched in 1977. As soon as test samples were sent out, the Post It stuck to people’s consciousness. By 1980, Post Its were being sold across the USA, and by 1981, across the world.

The Post It is born

The Post It is born

There are now over 600 different post it products, illustrating their success and popularity. Practically every office or home has a Post It or two lurking on a desk or on a fridge door. They are perfect for jotting down things ‘to do’ or a telephone number, or a shopping list.

Yet I find the Post It is perfect for drawing ideas and drawings; quick sketches whilst I am waiting for the computer to load or for the kettle to boil. They are light and small to carry, their design making them perfectly portable, and the adhesive, of course, makes them wonderfully versatile. The Post It is ideal for doodling, a personal canvas that you can hang up on display anywhere, any time.

todo

In its short history, the sticky yellow label has gone a long way. A simple design, a huge effect. From a laboratory in Minnesota, via a church hymn book, to art galleries/offices/homes/internet videos across the world, the Post It proves paper media still has a special space in our lives. And if it falls off that space, it can quickly be re-attached.

Doodles by Sian

The Architect Who Designed the Telephone Box

Cambridge University Library and a Red Telephone Box

Giles Gilbert Scott (1880 – 1960) was a prolific architect, responsible for landmarks that include the Liverpool Cathedral, Battersea Power Station, Waterloo Bridge and Bankside Power Station (now Tate Modern).

Ironically, of all these cavernous structures, his most visited design only houses one person at a time: the classic British red telephone box.

In 1924, a competition was held to re-design the concrete K1 telephone box, which many London boroughs had refused to install. Scott won the competition (against two other architects), though the Post Office chose the distinctive red colour over his suggestion of silver.

Today, most of these ‘K2′ telephone boxes have been designated Grade II listed building status.

Photograph of Cambridge University Library (left) and Red Telephone Box (right) – both Giles Gilbert Scott designs – courtesy of Wikipedia.

Caravan, Meet Mass Customisation

mz_interior_1

Mehrzeller is currently just a concept but with BMW behind it, in all likelihood these strange geometric puzzle-shaped caravans will soon be seen driving along motorways and parked next to the old Airstreams and Bowlers around camping grounds in the near future.

Using the online configurator, every user sets up a design that is unique, their own layout that they can identify with. The configuration is generated by a computer using the customer’s inputs, and then the final design is done by parameters from the architects to yield an attractive and practicable result. The caravans are produced using the principles of “mass customization”: this allows both the individual wishes of the customer to be accommodated while producing the caravan with series methods. (source)

In today’s ‘it’s all about me’ world, personalisation is intrinsic to consumers satisfaction. The concept of ‘mass customisation’ is something manufacturers are counting on to bridge the gap between individuality and the imperative to keep costs low. The strategy “creates value by some form of company-customer interaction at the fabrication and assembly stage of the operations level to create customized products with production cost and monetary price similar to those of mass-produced products.” (source)

The Mehrzeller was designed by architecture students Theresa Kalteis and Christian Freissling from Graz University in Austria. It almost makes me want to rethink my deep rooted hatred of camping. Almost.

Image from Squob.com.

Modernising the Retro Kitchen

retro-kitchen

Thom Vernon, co-founder of The Big Chill line of retro-inspired kitchen appliances was inspired by what modern, stainless steel appliances don’t do (you can’t use magnets on them), as much as his desire for a cool kitchen:

The story goes that Thom and his wife were dreaming up a design-conscious retro kitchen that had modern functionality and vintage personality. “With our kid’s artwork and school photos always proudly displayed, we didn’t want the refrigerator to look out of place. The ubiquitous stainless steel appliances weren’t the right fit and we wanted to steer clear of the dreaded ‘white box’.” While they liked the look of the mid-century models, most were too small, inefficient, and required painstaking hours of chiseling to defrost. (source)

The results, though pricey (the cheapest fridge starts at over $2,600 USD), are beautiful with a candy shop of beautiful powder coated painted colour exteriors. Although they look like they are straight out of a 1950s kitchen, they have all the convenience of the modern appliance: built-in ice makers, they are Energy Star rated and, if you aren’t satisfied with their colour range, they will do a custom paint job.

The Big Chill appliances also have a metal exterior so, yes, they are also very magnet friendly.

Image from The Big Chill Kitchen Gallery.