Bojana Ostojic was working on Microsoft’s experimental mixed reality headset, HoloLens, when she realized that she was seeing the future of design at the company.
“I have to say, coming into that space really challenged me as a designer to really rethink a lot,” she remembers of her two years building HoloLens. Creating a holographic version of reality requires you to be part architect, part cinematographer, and part developer. If you’re using your hands to model an object in your living room via holograph, and need to move over to change something in the CAD model on your PC with a mouse, how should the interface respond? “Those were the moments in my holographic experience that I felt we were onto something really different than we had been in the past,” Ostojic says.
Conceptually, it’s the exact inverse of the precise, typography-based Metro design system the company released almost a decade ago, and a glimpse at how Microsoft is striving to remake itself with a more transparent, collaborative culture.
Over the past two years, the company has led the shift toward inclusive design, an approach that is now evident across the industry. It’s increasing its emphasis on real-world applications of machine learning and AI. It released a radical holographic device that no one saw coming, inviting developers and designers to collaborate on its development. In addition to evolving its popular Surface line, Microsoft launched a bevy of new hardware devices, like the Surface Studio, that are meant to eat Apple’s proverbial lunch: creatives. Perhaps more than anything, it’s been dramatically more transparent about its many experimental products and apps.
At the same time, such a diverse stable of devices and apps creates a problem of continuity. 2D interfaces are largely a solved problem these days, and most screen-based operating systems share some of the same basic qualities.”2D has been the name of the game for a really long time,” says Tim Allen, who came on as a partner at Microsoft this year. “The industry knows it, breathes it, and, to a certain extent, has started to perfect it, as well.”
That was the problem from which Fluent Design emerged. It’s meant to serve as a cohesive interaction language across all of Microsoft’s devices and systems: Windows 10, HoloLens, Surface, Xbox, Cortana, and more. “We were realizing that a lot of our experiences today don’t need a screen,” says Shum. And beyond VR, how could they standardize an experience across emerging interface modalities like voice and gesture? Shum has led Microsoft’s push towards inclusive design over the past few years, and Fluent Design is an expansion of that kind of thinking. “We’re thinking a lot more about new technologies that enable not just new experiences, but experiences for everyone.”
“I think we’re moving in a direction of our operating systems feeling more temporal and ephemeral,” Ostojic explains of the system’s emphasis on motion and animation. “It’s not as rigid as it used to be in the past. We summon things that come and go, we search for them, we don’t necessarily anchor ourselves in very rigid structures.”
“Without light, it would be very hard to orient yourself within a VR or holographic space,” she says. “[Light] becomes a very fundamental need in that kind of design paradigm. We looked at that and said, ‘Okay, if that’s effective within VR and holographic space, how do we bring it across the rest of the devices?” The answer: An interaction the company calls “Reveal,” which visually highlights unseen parts of an interface when you touch, point, or look at it, a lot like HoloLens does but across more devices. Light, rather than a color palette or a font, is the “connective tissue” in Fluent Design.
Right now, Fluent Design is more of a mission statement that a fully-developed set of standards. We’ll have to wait and see how this still very young system evolves over the next few years. Will VR and HoloLens ever achieve ubiquity? Will mixed reality reign supreme? Will voice interfaces colonize even more of our world, or will they wither and die? Fluent Design aims to adapt to the uncertain future of these paradigms. Shum describes the process as creating a personality: “Design’s job is not just ‘hey, push this button and get this.’ It’s actually: how do we want our customers to feel?”