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首页设计悲剧:2018年的致命与不当设计及其修复策略
设计悲剧:2018年的致命与不当设计及其修复策略
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"《悲剧设计:2018》(Tragic Design)是由Jonathan Shariat和Cynthia Savard Saucier合著的一本书,探讨了不良设计如何对我们的生活造成深远的影响,特别是那些可能导致伤害、愤怒、情感痛苦以及社会不公的设计。这本书以2018年为背景,关注了五个关键主题: 1. 致命设计:书中详述了一个不幸的案例,一个年轻的癌症患者因界面设计失误而陷入困境,揭示了设计决策在生命关键时刻的重要性。 2. 激怒人心的设计:作者分析了技术的不礼貌行为和所谓的“黑暗模式”(dark patterns),这些设计策略可能会有意或无意地让用户感到困扰。 3. 情感层面的伤害:讨论设计如何无意识地引发负面情绪,包括通过不友好的交互和缺乏考虑周全的用户体验。 4. 排除与不公正:书中揭示了设计如何通过缺乏可访问性、多样性考量,以及未能实现公平原则,将某些群体排除在外。 5. 伦理设计倡导:面对挑战,作者提供了如何在困难情况下提倡和实践更道德的设计方法,以及实用的工具和技巧来避免潜在的伤害。 《悲剧设计》不仅仅是一本理论书籍,还包含了鼓舞人心的专业人士的故事,他们如何利用设计的力量来改善世界。作者们通过实例和建议,引导读者理解设计的社会责任,并提供了一套全面的指南,帮助设计师们提升设计素养,使之成为积极的社会力量。该书出版于2017年4月,由O'Reilly Media发行,旨在推动设计领域的道德实践和改进。"
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1. INTRODUCTION
|
3
Healthcare in the United States is facing a crisis. In 1999 a landmark
report titled “To Err Is Human”
1
concluded that 44,000 to 98,000 peo-
ple a year die from medical errors, at a cost of $17–29 billion per year.
A more recent study puts the estimate at 100,000–400,000 deaths per
year.
2
Here’s a quote from the latter:
In a sense, it does not matter whether the deaths of 100,000, 200,000
or 400,000 Americans each year are associated with PAE (Prevent-
able Adverse Eects) in hospitals. Any of these estimates demand
assertive action.
Jenny’s story is, unfortunately, not uncommon. These situations hap-
pen every day, and not only in the US. However, it’s important not to
blame the nurses, or we miss the entire context that led up to these
grave mistakes. There’s a concept used in the healthcare field called the
Swiss Cheese model of accident causation. This model (see Figure 1-2)
compares human systems to multiple slices of holed cheese.
There may be multiple layers to pass through before a mistake affects
the patient. For example, when there is a medication error, the source
of the error can occur in any of these “layers”: the doctor’s prescription,
the pharmacist filling it, the medication being stocked correctly, the
nurse preparing and giving it, and the mechanism used to administer
it to the patient. Each layer has its own holes (flaws in the preventative
measures), but together they reduce the chances of an error happen-
ing. In our example, nurses were the last layer of defense, so it’s easy to
blame them for the mistake that happened. But in fact, interface design
should act as the last layer in that model. It usually accomplishes that
by reducing the cognitive load required to complete a task, thus allow-
ing more resources to be dedicated to error prevention. Unfortunately,
in the healthcare industry, it instead leads to making more holes.
1 Kohn, Linda T., Janet M. Corrigan, and Molla S. Donaldson, eds. “To Err Is Human:
Building a Safer Health System.” Washington, DC: The National Academies Press, 2000.
2 James, J. T. “A New, Evidence-Based Estimate of Patient Harms Associated with Hospital
Care.” Journal of Patient Safety 9:3 (2013): 122–128. doi:10.1097/pts.0b013e3182948a69
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|
TRAGIC DESIGN
FIGURE 1-2.
The Swiss Cheese model of how errors can make it through many layers of
imperfect prevention methods
Cognitive capacity is the total amount of information the brain is capa-
ble of retaining at any moment. This amount is limited and can’t be
stretched. In the case of Jenny, the software was most likely overload-
ing the nurses’ cognitive capacity by forcing them to figure out how to
use the interface to chart the patient’s care and make the appropriate
orders. Nurses (and all medical staff, really) are working in an environ-
ment and with tools that are working against them. With thousands of
medical errors happening every year, it is apparent that there is more to
this problem than negligence. The system is broken, and design should
be doing its part in repairing it.
It is important to note that a better user interface alone is not the solu-
tion. Since it’s our area of concern, however, we should study its role
and improve that layer as best we can. Technology and design in health-
care should be used as a protective layer, to ensure mistakes don’t hap-
pen. In the case of Jenny, technology was instead a key factor in a tragic
error.
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1. INTRODUCTION
|
5
The Role and Responsibilities of Designers
If you ask 10 designers what their role is, chances are you will get 10
completely different answers.
Design, as Jared Spool so succinctly put it, is “the rendering of intent.”
3
While that is a very correct, logical, and concise way of boiling it down,
for user experience designers it misses one important element: people.
We would define design, especially in the sense of designing products
and software people will use, as “the planning of a product’s interac-
tion with people.”
Good designs are the ones that are transparent, delightful, and/or
helpful. Therefore, bad designs are the ones that collide with human
behaviors and cause undesired friction. When we create things with-
out the end users in mind (or with some vague sense of them as cus-
tomers), we almost always end up creating bad designs. Badly designed
products serve their creator (or sponsor) first and the users second. Good
design attempts to understand the intended users and create an expe-
rience that serves their needs. A good design is a worthwhile one; one
whose existence isn’t a burden on its users, but instead makes their
lives better in some way. Fortunately, good design isn’t just a bunch
of goodwill and pleasant feelings—it’s good business too. Spending
resources on design is a worthwhile investment. Some professionals go
as far as saying that every dollar spent on user experience brings up to
$100 in return.
4
If one product serves its creator first and its competi-
tor serves the customers, then it’s most likely that the customers will
choose the latter. In today’s technology landscape, it’s easier than ever
for competitors to match features and scale up to millions of users.
Thus, user-centered design, because of its accessible nature, becomes
the main differentiator.
THE CLIENT PARADOX
Designers often, and rightfully, claim credit for the success of a prod-
uct. Wouldn’t it be fair to blame them for unsuccessful products too?
3 Spool, Jared M. “Design Is the Rendering of Intent.” UIE, December 30, 2013,
https://
articles.uie.com/design_rendering_intent
.
4 Spillers, Frank. “Making a Strong Business Case for the ROI of UX [Infographic].”
Experience Dynamics, July 24, 2014,
http://bit.ly/1t6a1rk
.
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TRAGIC DESIGN
There are many blogs that specialize in cataloging examples of bad
design. When we witness such examples, it seems natural to blame the
designers (and laugh, let’s be honest) for their poor work, lack of empa-
thy, or basic skills. However, this doesn’t paint the complete picture.
The reality is often that the designer answers to a client. Tim Parsons,
in his book Thinking Objects: Contemporary Approaches to Product Design
(AVA Publishing), criticizes this aspect of the design practice. The par-
adox comes from the fact that designers aren’t always in charge, since
they get paid by a client that has a vision, business needs, objectives,
etc., and not by the users that will end up using the design. This places
the designers in a rather awkward position. We have heard countless
times, “I ended up doing what the client wanted.” Unfortunately, there
is no magical solution to this issue.
When commissioned with a project that “feels wrong” to them, design-
ers should do everything in their power to educate their client. It might
take more time, but the responsibility falls on them. If they have the
means, they can simply refuse to do the work, but that is quite idealis-
tic, and we understand that only privileged designers and design firms
can take such a drastic stand. Moreover, if one refuses to do the work, a
less scrupulous designer may end up doing it, and probably cause even
more damage.
We know that, at some point in our careers, we all have to make tough
calls. Sometimes we have to choose our client’s needs over the users’
needs. When this is acceptable and when it is not is a difficult line to
draw. Many occupations have established codes of ethics that are taught
in school and enforced by their professional orders. These guiding
principles help in making fair decisions in complex situations, while
protecting the clients, the users, and the professionals doing the work.
Several codes for graphic design exist, but none are widely distributed
or enforced. While the International Council of Design’s model of a
code of conduct (
http://www.ico-d.org/database/files/library/icoD_BP_
CodeofConduct.pdf
) is a good start, we feel it’s incomplete and won’t
help in making a fair decision in many of the situations cited in this
book. The best code of conduct, in our humble opinion, was written by
a group of students and professors and is called “Ethics for the Starving
Designer” (
http://www.starvingforethics.com
). The first principle is a
great starting point:
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1. INTRODUCTION
|
7
Finding the most ethical course of action will sometimes be dicult,
but that diculty will not deter me from striving to find the most eth-
ical solution to any problem I may encounter. If I find myself in a situa-
tion where I have made a decision that I am unhappy with, I will instead
endeavour to make an ethical decision for myself and for others in the
future. While some circumstances may force me to compromise at
times, I will not resign to turning to compromise in future situations,
and will face my next ethical decision with a renewed determination to
find the best outcome.
Every designer should write down what they stand for, what they think
is acceptable or not. Having this “will never do” list will help you make
difficult decisions when they arise.
UNDERSTANDING AND IDENTIFYING HIDDEN COSTS
Often, those of us who are passionate about technology get caught
up in the science and exploration of it. We gawk over all the possibil-
ities it enables, and rarely stop to think about the “why” of it. We are
responsible for what we bring into this world, in the same way that par-
ents are responsible for their children. Yet we often create at a whim,
chasing the next idea, the next dollar, the next trend. Asking if what
we are building should even exist is important not only from a phil-
osophical or moral standpoint, but also from a business perspective.
Furthermore, we must ask ourselves: is our success coming at a hidden
cost? For some companies that might be at the cost of the environment;
for others, it can be at the cost of their own employees’ well-being or
their customers’ trust. We are often fooled into thinking that what we
made was successful, when in reality the cost is hidden or externalized.
Failing to identify all of the hidden costs and the impact of our designs
on the world around us can lead us to blindly and unintentionally cause
harm to others.
In order to identify and avoid these potential hidden costs, we suggest
creating lists of “goals,” “non-goals,” and “anti-goals” (also called “haz-
ards”). They can be added to the product brief or creative brief, if your
company uses these. While the concept of “goals” is pretty straightfor-
ward, the two latter sections are rarely found in product design briefs.
The list of “non-goals” aims at setting objectives that are explicitly out
of scope for the current effort. While this might sound unnecessary, in
our experience there is value to being explicit about things that are out
of scope, in case there is ambiguity about the boundaries around one
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