The Review Chapter 6.5 in Sketching User Experiences: The Workbook Image from Parnell, R. Sara, R., with Doidge, C. and Parsons M. The Crit: An Architecture Student’s Handbook. 2 nd Edition. Architectural Press

Receiving criticism is a fundamental part of learning in the studio. Make sure that your work is reviewed and discussed as often as possible. Criticism is a fact of professional life… Incorporation of [the critic’s] modification almost always translates to an opportunity to make the work even more potent.” Pressman, A. Architecture 101. A guide to the Design Studio. Wiley Press. (page 3, condensed) Modified from How to run a design crit, by Scott Berkun

Presenting ideas for critique Sketches are an invaluable conversational prop present your sketches so people – your critics – can understand the key points behind your work critics verbally review your work osummarize your ideas so you can correct misconceptions oits strengths, weaknesses owhat could be improved by offering solutions ochallenging you to think differently gather feedback (record them in sketchbook) reflect on criticism and re-evaluate your ideas (the design funnel)

The Elevator Pitch Take every opportunity to tell others about your idea A 30 second to 2 minute summary, anywhere, anytime The Challenge Know your message I can’t overemphasize the importance of being clear in your own mind of what you want the audience to get from your presentation. Only then can you really concentrate on doing a good job of getting it across. –Bruce Macdonald

The Elevator Pitch Structure who you are and your role. the problem you are working on the motivation behind it. your design idea, e.g., a storyboard in the sketchbook can rapidly illustrate this invitations for feedback

The Desktop Review Situation you work in a public environment (e.g. a studio) surrounded by colleagues and mentors Methods present and invite critique of on-going work from your desk physical sketches / sketchboards around desk as teasers digital sketches /videos displayed on computer screen a feedback pad so you can always capture comments

The Meeting Situation arrange meetings with colleagues, mentors, users, etc. you are explicitly seeking feedback at opportune times Training your audience and yourself stress you will get more value if they ostate strengths but also expose weak ideas ostate what could be improved ostate how to improve it (design alternatives) take turns (round robin, several rounds) o1 st person: what they like o2 nd person: what could be improved. listen odon’t defend / discuss your work as people provide feedback open up a discussion around their key points oget them to clarify issues and to discuss solutions

The Formal Review (Design Crit) The Issue as a design funnel unfolds, teams need a way to formally understand, explore and evaluate the current design direction and alternate solutions The Challenge create the openness needed for good ideas to surface cultivate feedback & criticism necessary to resolve open issues evaluate, change and/or extend existing ideas Modified from How to run a design crit, by Scott Berkun

Its not about you

Its about your idea

The Formal Review (Design Crit) Goals decide on focus, e.g., ooverall concept oidea evolution oinnovative aspects ohigher level user, customer and business goals ousefulness and usability, ocost, engineering constraints (later on) ored light/green light Modified from How to run a design crit, by Scott Berkun

The Formal Review (Design Crit) Constraints limited time mixed audience (peers, senior people, lay people, outsiders) small audience (informal atmosphere) equipment setup

The Formal Review (Design Crit) What you do be prepared (practice!) present your work visually and verbally explain your work demonstrate your work illustrate the flow (maybe a step by step walkthrough) listen to responses learn from responses note down responses / ideas (sketchbook) don’t defend

The Formal Review (Design Crit) What the audience does listen question probe critique opositive feedback oconstructive feedback oimprovements odesign variations odesign suggestions ocompare (with competing designs) challenge the design, oprovoke new ways of thinking about it different perspectives odifferent stakeholders give different feedback)

Game rules Respectful all listen all contribute all engage all discuss

Game rules General rules of order start with clarifying questions oassumptions, goals, expected experiences, operation… listen before speaking ounderstand, reflect, then voice an opinion… explore alternatives oquestions that surface other possible design choices opostpone judgments unless there are obvious gaps point out problems ogiven what you know of customers, scenario of use, etc. oprovide solutions if possible avoid absolutes omake points that refer back to the design goal Modified from How to run a design crit, by Scott Berkun

You now know elevator pitch: for gathering quick reactions to your ideas at any moment desktop review: for garnering feedback from the people around you (e.g., colleagues and mentors) the meeting an event planned by you whenever you need feedback, where you can choose who attends the review, or crit are periodically scheduled sessions where you formally present and gather feedback from decision makers, senior designers, managers, clients, and peers

Sources 1.How to run a design crit. Scott Berkun. critique/ 2.The Crit. An architectural student’s handbook. 2nd edition. Parnell, R. and Sara, R., with Doidge, C. and Parsons, M. (2007) Architectural Press. 3.Architecture 101. A Guide to the Design Studio. Pressman, A Wiley Press.

Permissions You are free: to Share — to copy, distribute and transmit the work to Remix — to adapt the work Under the following conditions: Attribution — You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work) by citing: “from presentations accompanying the book ‘Sketching User Experiences, the Workbook’, by S. Greenberg, S. Carpendale, N. Marquardt and B. Buxton” Noncommercial — You may not use this work for commercial purposes, except to assist one’s own teaching and training within commercial organizations. Share Alike — If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one. With the understanding that: Not all material have transferable rights — materials from other sources which are included here are cited Waiver — Any of the above conditions can be waived if you get permission from the copyright holder. Public Domain — Where the work or any of its elements is in the public domain under applicable law, that status is in no way affected by the license. Other Rights — In no way are any of the following rights affected by the license: Your fair dealing or fair use rights, or other applicable copyright exceptions and limitations; The author's moral rights; Rights other persons may have either in the work itself or in how the work is used, such as publicity or privacy rights. Notice — For any reuse or distribution, you must make clear to others the license terms of this work. The best way to do this is with a link to this web page.