Chapter 1
Opening my MUJI notebook is like a fresh breeze blowing away all my fears and hesitancy of putting pen to paper. It’s a modular system where I can swap out pages and covers within and between notebooks, all with just a couple clicks. Never again will I ever worry about having the “right” notebook handy, or if I can put down work tasks in my personal journal.
Then I had an epiphany: the Japanese have artifacts figured out – you know, things and stuff. How can I incorporate their design philosophy in my project management work? What clicky, modular, effortless stuff can I use?
I decided to explore Kenya Hara’s book, “Designing Design.” He has been the art director for MUJI since 2001, so it feels fitting to go to the source of my joy.
In this series, I’ll share chapter-by-chapter insights that resonated with me, both related to project management and beyond.
Hara begins by showcasing other designers’ work in his RE-DESIGN project, challenging them to reimagine everyday objects like toilet paper rolls and adult diapers.
TENSION
Shigeru Ban changed out the round toilet paper tube for a square. That’s it. Yet, the subtle change transforms the unrolling experience from easy to noisy and resistant. That resistance, or tension, could cause mindful usage: taking out fewer squares, reducing waste, and giving janitors a break from unclogging toilets.
AFFORDANCE
Naoto Fukusawa’s approach emphasizes conscious and subconscious user needs, which I interpret as designing from the object’s perspective. What does an object “want” to do? How does it interact with its environment? This philosophy encourages us to integrate environmental constraints and possibilities into our designs.
Fukusawa’s redesign of a teabag with a color-changing ring exemplifies the power of intuitive visual cues. This simple indicator replaces complex measurements, making the brewing process more accessible. I can’t help but imagine similar applications in healthcare or other fields where clear, visual communication is crucial.
HUMILITY
Masahiko Sato’s contribution stood out not for what he redesigned – passport entry and exit stamps, but for his ultimate conclusion. They don’t have to change. He recognized when a design is already optimal, to avoid overdesign and unnecessary complexity.
Hara’s macaroni exhibition further emphasizes design as a communal and historical process. Centuries of refinement have led to the pasta shapes we know today. This perspective encourages us to respect established practices while remaining open to innovation. To truly understand design – or any field – we must be willing to deconstruct and rebuild our understanding.
OVERSIGHT
However, as I delved deeper into the book, I noticed a critical oversight: only two out of the 23 featured designers were women. How did I cotton on to this? Well, when a solution to adult diapers was a garment most women couldn’t wear, I became suspicious. It’s a stark reminder that inclusive design requires diverse input, a principle equally applicable to project management.
CONCLUSION
Initially, I approached this book hoping to revolutionize project management. However, Hara’s insights have humbled me, reminding me that effective change often comes from subtle improvements and collaborative efforts rather than radical overhauls.
Moving forward, I’ll focus on incorporating diverse perspectives in project planning, looking for small, impactful changes that can improve efficiency, and considering both conscious and subconscious needs of team members and stakeholders. I’ll strive to respect the wisdom of established practices while remaining open to innovation.
By embracing humility and respecting the collective wisdom of our field, we can approach project management with a fresh, more nuanced perspective. This journey through Hara’s work has reinforced the idea that true innovation often lies in the subtle details and the wisdom to know when change is – or isn’t – necessary.