Study your predecessors' works intently, to see how they solved problems. Try to figure out why they made the design choices they did; this is the most illuminating question to ask yourself.
- Fred Brooks, The Design of Design
Design is an iterative process, and the quote by Fred Brooks above highlights that the iteration happens best over a sufficiently long arrow of time. The output of a helically progressive iteration of planning, methodology and creation is what design thinking aims for. In ancient India they had a word for this 'well put-together,' or 'well-effected' creation- sam kṛti or saṃskṛtī. Thus they used the word to mean culture- which is but the output of helically progressive iteration over an extremely long period of time. It is collective design that studies, evolves, modifies and reimplements 'predecessors works' over and over again.
Ṛta in Design is a model for design thinking to identify and navigate the two-fold problem statement of ṛta and smṛta, that draws from the repository of cultural knowledge and wisdom for its solutions.
It provides frameworks and tools to discern design and intent, both those writ upon us and those of our own creation. This is where we find complete alignment with the Center for Humane Technology's aim of 'aligning technology with humanity's best interests.' We see the 'real problem of humanity' as quoted on the CHT portal to be the primary wicked problem for design thinking to address:
...We have Palaeolithic emotions, medieval institutions and godlike technology.
- Dr. E.O. Wilson, Sociobiologist
The concepts and tools in Ṛta in Design can provide a values-based framework for understanding the uniquely wicked problem of our modern times.
For designers/creators - to understand the deep responsibility that comes with creatorship, and the method to conduct it accordingly.
For users of technology - to understand that scale and technology make modernity a 'nested reality' already, even without simulation hypothesis, and how to be a conscious navigator of nested realities.
This is done by iteratively leading one through 3 phases:
Svataḥ Siddha, the Self-Initiation - a phase for exploring intent, need, will, emotion, knowledge, cognition, capability and readiness.
Purohita, the Creatorship-in-Action - a phase for methodologies, processes, protocols, ethics, relationships, impact and execution.
Saṃskārtṛ, the Design Being - a phase for analysis, meta-processes, self-reflection, consequence, and meaning.
The phases are in turn rooted to 4 design principles, each inspired by a cardinal aphorism of cultural wisdom:
Intent - Aham Brahmāsmi, ie., designers need to keep in mind the power and responsibility at their disposal. That in bringing things to life they enact the great creator, Brahman, means deep consideration and deliberation.
Agency - Yogaḥ Karmasu Kauśalam, ie., in the journey to being a great designer, the proof is in the nature of execution- in actually manifesting the intent inside.
Grounding - Asato Mā Sadgamaya Tamaso Mā Jyotirgamaya, ie., to always be led by what is truth, by what takes us towards the light of true comprehension- is a highly appropriate design principle.
Consonance - Yathā Piṇḍe Tathā Brahmāṇḍe Yathā Brahmāṇḍe Tathā Piṇḍe, ie., the highest principle to aspire to, the final piece in design patterned to ṛta - where smṛta is a perfected reflection of it. The aim is to bring a transcendent harmony, function and positioning in our creations.
All knitted together by nodes that draw from the neuro-cognitive root sounds of Sanskrit's intricate grammar: ṛta, kṛta, dhṛta, ghṛta, mṛta, anṛta, smṛta and more.