Epilogue
Limitations encourage creativity.
Never rue the limitations of a design problem—a too small site, an inconvenient topography, an overlong space, an unfamiliar palate of materials, contradictory requests from the client...Within those limitations lies the solution to the problem.
And in the End...
In the preceding pages, we have covered patterns about self (Identity, Presence, Engagement, and Reputation), patterns about social objects (Collecting, Sharing, Broadcasting and Publishing, Feedback, Communication, Collaboration, and Social Search), and patterns about the social graph and location (Personal Connections, Community Management and Place, Geography, Location). We have shared patterns about community management, licensing, and open standards. We have also given you some food for thought in a set of overarching principles: Talk Like A Person, Design for Everyone, Be Open, The Ethical Dimension, and others.
And finally, we acknowledge in this book’s last chapter that not everyone is designing social web interfaces for the average consumer in the United States. There are facets and contexts of delivery medium (web, mobile, device); business or consumer; age (youth, elderly, everyone in between); and other factors that will color how you approach your design and what patterns to pay attention to and which to leave in the toolbox.
The landscape of social interactions is as broad as it is deep, and—as we have touched on briefly in the last chapter—complicated and flavored by different delivery mechanisms, contexts, and user types. Designing for this space is complicated but also a lot of fun. It’s important to remember that the social experience can be quite extraordinary, even with the simplest of interfaces (remember the BBSes we mentioned in the beginning?). Pick and choose thoughtfully, and put the patterns together like a recipe or a poem, knowing that you can always start simple and expand as you go. Much of what we can do as designers is really about building a space for something to happen and then getting out of the way.
The collection of patterns in this book is just the beginning of a conversation. What started on whiteboards, in barcamps, and on listservs is collected in this book and on our site wiki. We invite you to join us at our website, http://www.designingsocialinterfaces.com, to continue the conversation. We are interested in hearing your stories about designing for this space and what patterns have been most successful, which ones need more work, which should be tossed out entirely because the world has moved beyond them, and which new and emerging interactions might be added to the library.
As we mentioned in the beginning, we approached this as a pattern language, and like any language, this is a living, evolving, and ever-changing beast.
As Christopher Alexander writes in A Pattern Language
This language, like English, can be a medium for prose or a medium for poetry. The difference between prose and poetry is not that different languages are used, but that the same language is used differently. In an ordinary English sentence, each word has one meaning and the sentence too, has one simple meaning. In a poem the meaning is far more dense. Each word carries several meanings; and the sentence as a whole carries an enormous density of interlocking meanings, which together illuminate the whole.
The same is true for pattern languages. It is possible to make buildings by stringing together patterns in a rather loose way. A building made like this, is an assembly of patterns. It is not dense. It is not profound. But it is also to put patterns together in such a way that many many patterns overlap in the same physical space; the building is very dense; it has many meanings captured in a small space; and through this density, it becomes profound.
Why not try for that lyric quality, the quality without a name, in the spirit of Alexander?
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