Design insecurity
The requirements mentioned in all designs are considered to have the same price as the products, markets, accounting, and business functions, and they require the same management skills. Some managers respond in two ways, not to ignore all kinds of evidence and to reject the importance of design. , or can recognize the importance of design but still impose responsibilities on other projects, managers will not dream of letting the financial situation, or individuals on product decisions go downhill (for example), maybe from the design can Do anything to get closer.
The reason for disgust design usually focuses on practical and cultural explanations. One of the controversial points is that managers will typically feel larger when they decide whether they are decisive or not, or if they are inappropriately designed. Difficulties and uneasiness because their technical knowledge seems to be obtained in analytical rules (such as mechanics or accounting). Frequently, when they are not ready, they deal with cases involving similar non-similar design concepts, excellent visual (and better handwriting) information, and the need for subjective evaluation formulations. In particular, they will not evaluate designs. The result of the case.
In addition to the explanation is the appearance of the niche point, color and appearance will be regarded as the main key points for women, and many men can not apply (or suggest not suitable). Because management continues to be dominated by men, especially high-level executives, who lack a preference for design, another cultural influence may be relevant; in education, early specialized means direct non-academic related creative themes, such as: Art design and craftsmanship studies have deprived smart students of opportunities to develop technology in related fields.
This part may be implemented in industry and obviously many companies - even if some reliance on reforms can revitalize the company's good design, it needs to be managed by a person who manages control accounting, committing to existing activities rather than cultivating new ideas.
Regardless of the essence of these explanations, there is no doubt that when there is a need to make decisions concerning the design and management of design cases, there will be a little uneasiness. What is needed to achieve good design results is not uncertainty but Other management work.
The key to success lies in the preparation work before the design case begins and the control work when the design begins to operate. Many unsuccessful designs occur because managers have no clear idea of ​​what they need to achieve. Or because they are unable to determine step by step whether the plan will have the correct results, the design direction and control must be set by most of the company's senior executives, but a small number of companies obviously identify the design through the Council's subject recognition. , Even a small part of the allocation of specific responsibilities to managers, but most of the fabricated design is an important matter.
Different views of managers and designers
When managers and design try to understand each other's point of view, the mentality is changing, but there is still an interest in gambling culture conflicts. For managers who have reached a consensus, the design is a resource that can add value to products and services. If used properly, it can be as smart as spending money on advertising or streamlined manufacturing. The investment can produce good profits and increase the profitability of a company; on the contrary, the designers will focus on other priorities in their work, and oppose trying to measure the results of their efforts in the financial and project projects.
Dialogue with designers can sometimes show broader concerns, such as: the desire to improve the environment, increase the public's taste for art and design, or even help social or political change, but managers can focus on these The projects are better or less, and their main design interests are almost always called "Design for Benefits." Successively, the more different the design is, the better or the worse. The argument in the mall is that the simple definition of a good design is that sales are good, but sometimes the designer criticizes popular designs and replaces them with award-winning design results. From a secular perspective, it seems to be incomprehensible and impractical.
Even if each other's views are so divergent, when design magazines and design awards plan product features such as furniture, they are easy to illustrate, and mass sales items are rarely covered, even though they may be purchased by millions of consumers. What is out there is the higher value of money and offers a lot of job opportunities and prospects. There are some commercial potentials in photos that seem to be full of bizarre themes. Some unusual and weird ideas may provide a goal for evaluating new directions. Unfortunately, the changes in daily affairs are sometimes completely incomprehensible to non-designers, and it is difficult to find that designers can simply explain the process, non-technical language.
It is of utmost importance to raise these questions, because the fundamental basis of these future perspectives is to view design as a commercial resource, which is an important determinant factor in the competition for commercial interests. This does not mean that non-profit or non-commercial organizations are concerned. The purpose of their design is different, but the techniques for deciding the design direction are the same. The designers of the briefing and the cases in operation are all the same.
(to be continued)