Critiques
What are they, really?
The use of critiques is a mechanism that is central to the design progress as well as many other creative practices. Regardless of whether you are a student or a practitioner, you will benefit from frequent and timely constructive feedback Critiques come in many forms and serve different purposes, but its essential goal is to improve not only the design itself but also how others understand the design.
These following steps are taken from Liz Lerman’s Critical Response Process, which outlines a series of steps and roles, which are as follows. (Excerpt below is taken from Universal Methods of Design, by Bruce Hannington and Bella Martin.
1. Statement of Meaning Responders indicate what they found meaningful, interesting, or remarkable about the work
2. Designer Questions The designer asks questions of the responders. Responders may provide opinions only in direct response to questions and without suggestions for change
3. Neutral Questions Responders ask neutral questions of the designer; for example, rather than “why did you choose red?” They would ask, “what informed your choice of colours?”
4. Permission Opinions Responders state, “I have an opinion about ____. Would you like to hear it?” The designer has the option of saying yes or no
Critiques can also take on different formats. Ritual Dissent contrasts critical response process by depersonalising the critique of the work. A spokesperson presents their design to a panel of critics. Then, with the spokesperson’s back turned to the panel, the panel criticises the design idea and present alternatives. The Spokesperson then describes the the panel what they learned.
While there are many different ways one can approach a critique session, the general rule of thumb is that everyone should work to maintain a positive, constructive atmosphere. A critique is much more productive when it is focused on the work, not the person.
How is it Applied?
Out of all design research methods, critiques are special in that they are applicable in nearly all scenarios at any point in the design process. Because of its versatility, we can be fairly confident that in any design project, collaborative or independent, critiques are being used in some way. We may be able to think of a time in which critiques have worked well and ways in which it didn’t. Overall, this depends on how well a critique group follows Liz Lerman’s Critical Response Process, regardless of whether or not they are aware of it.
