A few months ago, on the cusp of another reorganization, my boss challenged me to present ideas about how my group should be organized. The challenge: “If you could organize the group in whatever way you wanted, what would you recommend doing?” Everyone who has ever been a manager longs to hear those words.
We stand poised to dive into the new year. What will 2003 hold for the profession known as “what we do” and its children, information architecture, usability, interaction design, interface design, and graphic design? We asked our authors to hazard a guess.
While there are IAs fortunate enough to work in companies that wholeheartedly embrace user-centered design, there are many more whose biggest challenge isn’t the work itself; it’s finding the opportunity to do the work, at the right time, in a meaningful way.
Teaching information architecture as a profession in the process of being born, author and educator, Earl Morrogh, in his new book, “Information Architecture: An Emerging 21st Century Profession” places IA in an historical context analogous to the history of architecture.
It seems like a lifetime ago when I asked my boss if I could adopt the title “Information Architect.” After all, according to Richard Saul Wurman’s definition, that is what I was. He laughed at me and said Information Architect isn’t a title, or a role. It’s not a job. That conversation took place only four years ago.
By committing all their attention to a single craft, often literally over hundreds of years, each town in France has received the renown that comes with great work. But what happens when you leave the autoroute, lured by one of those signs proclaiming the town’s mastery and claim to fame?
Upon publication of his new book, “The Elements of User Experience”, Boxes and Arrows talks to the author, Jesse James Garrett, to discover how the diagram evolved into the book, why he only wears black and how his work as an information architect has evolved.
What the design student needs is a design course that stresses usability, human factors, and clarity, instead of the typical branding and interpretation problems they usually encounter in their other design classes. James Spahr recounts a year of teaching at Pratt Institute that attempts to cross those boundaries.
Polar Bear book co-author Peter Morville shares the inside stories about the making of the new edition—from its original scribblings on an airsick bag to the ideas that didn’t make it in—and his thoughts about how the field has changed since their book was first published.
Ivy-covered halls are filling up again with eager students of the user experience fields ready to change the world (or at least to study out the recession). But are these programs really teaching them what they need to know?