What I learned about UX in Frank Gehry’s MasterClass
I took MasterClass’s course with Frank Gehry to understand the world of architecture, and ended up learning more about human-centered design and UX principles. For those who don’t know, MasterClass is an online resource that features industry leaders speaking on topics of which they are experts. For example, you can learn about filmmaking with Martin Scorsese, or cooking with Alice Waters, among many others. I decided to go with Gehry’s as it was the course most directly correlated to design that I could find.
Frank Gehry, notable architect responsible for Walt Disney Concert Hall and any building that looks like that, speaks on a range of topics during his 17 video, 2-hour 32-minute course: he discusses creativity and creative blocks, how to work with clients and teams, ideating, and prototyping. Much of his lessons can also be applied to UX design, especially the third lesson “Design Philosophy: Part One.” In it, he mentions the Farnsworth house in Illinois, designed by Mies van der Rohe. Even though it is a “beautiful sculpture” where “everything is organized and spotless to conform to that aesthetic,” he caveats, “it’s overpowering” and “they [inhabitants] can’t escape it… the architecture would organize your life in maybe a negative way, an unfriendly way.”
This reminds me of beautiful interfaces that are clean, pleasant to look at, but how do users respond to this UI? If the experience is too clean, it’s possible this leaves little room for users to adapt the tool to their own lives. Instead, they must conform to the experience created by the designer, whose personal visual goals potentially collide with the user’s goals. They no longer become a part of the user’s lifestyle, and are more akin to homes like the Farnsworth house — “pristine houses [that] become museum things” or buildings “that are ice cold,” erring on the side of sterility. This begs the question: are architects, and designers in general, creating the experiences that people seek?
Ironically enough, Gehry mentions, “Mies van der Rohe himself lived in a house with all kinds of tchotchkes and books.” Gehry beseeches the creation of spaces that are “user friendly” where “there’s a kind of comfort. You walk in, and you want to sit on the couch.” Furthermore, he states “it doesn’t detract to make something comfortable.”
His own design principles regarding architecture speak to my own user-centric approach to product design and my focus on accessibility. I aim to create experiences that people will find useful, to help them save time or effort in a technological ecosystem that seeks to capitalize on how time and energy can be drained as a means of profit. Also, I prioritize experience over aesthetic. In a perfect world, something can be immediately beautiful while also being extremely functional. But, if forced to pick between one or the other, I’d go for the house full of tchotchkes and a comfortable couch versus the harshness of a house like the Farnsworth.
Here are my other takeaways from Gehry’s MasterClass and how they relate to UX design.
1. Advocate for Your User and Keep Their Interests in Mind
Gehry emphasized the importance of truly knowing his clients, or users, in the case of UX. For example, the purposes of the house and the cultures of the client should and could very well affect the end result. While his interpretation of understanding his user is through meetings and even dinners, as a UX designer, we should put in the same time and energy through user research, interviews, and exploratory questions. The purpose of these meetings for Gehry is to “internalize everything pertinent to your client, from the location of their home, to the contents of their art collection, to the size of their family.”
During the initial user interviews, we may also become aware of edge cases, which should also be taken into account while designing. Rather than viewing them as annoyances to the design, think of them as constraints that will make the design more accessible and holistically useful. By being high touch with clients, Gehry also espouses open communication and sharing often.
And lastly, in regards to users, never assume your needs are their needs. The course mentions: “leave yourself open to the preferences of clients that might not have occurred to you; a feature of the land that you originally intended to highlight may be a component your client would rather diminish.” For example, an architect may find a view absolutely beautiful and want the house to showcase that. However, the client may simply want it contained so as to look like a frame in a room. In the same vein, it’s important for UX designers not to assume we share the same likes and dislikes with the user.
This brings me to my second takeaway:
2. Design Iteratively and Share Your Work Often
In any project, there are stakeholders to account for. As I’ve learned from experience, the trouble comes from a lack of communication, leaving one party in the dark. When meeting clients, Gehry “finds it helpful… to have a pencil in hand so he can sketch freely as they converse.” The class recommends that we “[t]ry thinking out loud with your clients and drawing as you go in order to create a visual, spatial response to their words.” This is especially important when working with clients or cross-functional teams.
Because much of our design work can be tied up with jargon, I find that having the design drawn out, even low-fidelity, can be a great conversation starter and ensures everyone is on the same page. Sometimes words don’t cut it, and the extra time spent designing initial mockups to share with others on your team or with users will save you time and unnecessary pain further down the line. (Trust me on this!)
And, just as important as showing your work the first time around, is also to keep others in the loop as the design progresses. By keeping clients engaged — or conversely, seeking user feedback throughout the design phase — these small touch points can help us feel more confident that our design is on the right track.
The last lesson I want to share is:
3. There is Room for Creativity Despite Constraints
When designing Walt Disney Concert Hall, Gehry noticed the women’s restroom line was consistently longer than the men’s any time he went for a concert. Despite the physical constraints, he managed to fit extra stalls for the women’s restroom into the blueprints, which no one noticed or mentioned. I personally loved this anecdote because it draws on observation and user empathy to create a better (concert) experience.
In his seventh lesson “Design Obstacles,” he said constraints provide for “15% of freedom,” which are “opportunities to explore things.” Design constraints — such as time, money, or project scope — can provide direction and encourage creative problem thinking. Another example he provided are the limitations of physical resources. Commonplace materials such as brick or chain-link fences can be made new and interesting with unconventional applications, while still being accessible and palatable because of their ubiquity. This reminded me that with design, experiences can delight users even without deviating from the norm, or mental model. It’s not to say that I encourage using whatever precedent has been set, but rather to evaluate or test if a new design or solution is one that is intuitive and accessible to users. Even with familiar patterns and experiences, a product can still be enjoyable and memorable for users.
From Gehry’s MasterClass, I learned that listening to your user and acting in their best interests will result in the most practical and well-received experience. I like to think of designers as a medium for the user that bridges their goals to the product. Though the course speaks to architecture, it proves that being user-focused serves all industries and job roles. The next MasterClass I take will likely relate to cooking, which I bet will also tie nicely into user-centered experiences.
