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Systematic Method for Designers
... introducing the solution into the environment, evaluation and conclusion). This procedural view 2 allows for the repetition of stages at any time before, during, or after production based on accompanying best practices [2][3][4][5][6][7]. The rational paradigm understands design as informed by research and knowledge in a predictable and controlled manner. ...
... A narrative, finely tuned or rough, can be presented in all forms of human expression, as in speech, literature, image, film, music, song, theatre, dance, pantomime, or game. The earliest form of western-oriented narratology 3 can be found in Aristotle's Poetics [15], which provides in mimesis 4 the all-encompassing concept based on which six constituent elements of narrative arise: plot, character, language, thought, spectacle and melody [16, vol1, p. 33 -34]. Modern narratology starts with the Russian Formalist movement (1918 -30), that developed the notion of an opus as the sum of all applied artistic skills and in this context focused on understanding and describing these skills in their respective functionality (practical, theoretical, symbolic and aesthetic) within prose, metre, and literature evolution [17, 18 19 5 ]. ...
... This text follows the argument by Sternberg [42] and Ricoeur [16] that thematic and modal narratology should not be looked at separately. As the aim is to shed light on the authoring 3 There are naturally other narrative models and traditions. Kishōtenkets, for example, describes the structure and development of classic Chinese, Korean and Japanese narratives. ...
In this text, we consider the authoring of interactive digital narratives (IDNs) as a system of interwoven creative processes and look at it as a design process. The aim is to better understand the structural, aesthetic and interactive concepts authoring has to address, how authors think about those and what that means regarding the tools required to support authoring for IDNs. The paper concludes with a detailed vision of an authoring environment that is considered an open-source sandbox system, which provides the technical means to build a functional IDN but adapts the availability of technology based on the narrative engineer's aims, goals and skills. The environment establishes a collaboration between itself and the narrative engineer, who's interaction on one side focusses on the collection of material and its classification and on the other side covers the design of the engine that facilitates the aimed for audience to establish the stories for their information need out of the provided proto-narrative content space.
... No livro Systematic Method for Designers, Bruce Archer (1965) propõe um modelo operacional para organizar e sistematizar o processo de design, defendendo que a sua proposta é representativa de uma ideia de "ciência do design". ...
... Rowe (1987: 50) Nesta proposta de Archer, a existência de relações iterativas entre as acções indicia uma noção de retorno mais evidente do que nos modelos anteriores (Rowe, 1987). Na visão de Bruce Archer (1965), a prática do design envolve habilidades contrastantes e o domínio operacional de um campo alargado de disciplinas, o que exige ao designer a capacidade de executar tarefas e responder a exigências muito diversas, traduzindo-as na concepção, produção e comunicação de algo concreto. A fase inicial é analítica e serve de suporte à fase criativa, onde se dá a escolha e definição das opções, que passam depois por uma fase de execução. ...
... 3) as soluções não são verdadeiras ou falsas, mas melhores ou piores; 4) não há forma imediata e definitiva de testar a solução; O debate em torno das características de um problema de design enforma uma vertente importante na evolução histórica da metodologia projectual: a formação das bases para uma ciência do design (Archer, 1965). A reflexão produzida mostra-se crucial para compreender a contribuição do método para a construção da própria disciplina. ...
Can a design process model describe and explain the creative process in haute cuisine? This question guided an exploratory investigation which observes empirically the relationship between the creative processes of design and gastronomy and confirms the adequacy of a design process model of reference to haute cuisine’s creativity.
A phenomenological methodology was undertaken to map the creative processes of five chefs, all Michelin star holders, which resulted in thirty- nine emerging themes. The introduction of an external validation tool made it possible to organize the themes into categories and subsequently group them into four dimensions: knowledge, concept, realization and evaluation.
The dimensions revealed proved substantially coincident with the phases of the design process model - discover, define, develop and deliver - which suggests the accuracy of the initial theoretical assumption. The results of the study show that the creation process performed by chefs is similar to that developed by designers, as it exhibits the same sequence of iterative creative steps: gathering of information; concept definition; development and materialization; implementation and evaluation.
By explaining the creative process in haute cuisine from the paradigm of design, the theoretical model that results from this study allows for the conceptualization and analysis of haute cuisine’s praxis, opens new possibilities for the understanding of the chef’s creative processes and helps support the thesis that creativity processes don’t differ significantly amongst design-based practices.
... In that process, the unknown spaces between design's inputs and outputs, between its briefs and outcomes, began to see the light of day. From design methods (Archer, 1964) and "the sciences of the artificial" (Simon, 1969(Simon, /1981 to intuition-based models (Eastman, 1970) and the "reflective practitioner" (Schön, 1983), the complexities of the design process were meticulously examined. The question at the heart of these efforts remains equally relevant today: where and how do we find design knowledge? ...
... Countering this is the notion that design represents a third culture, distinct in its methods but also inevitably connected to the sciences and humanities: "this 'material culture' of design is, after all, the culture of the technologist-of the designer, doer and maker" (Cross, 2006(Cross, /2007; see also Archer, 1964). In recent years practice-led design research-a growing area of inquiry with a focus "on topics arising from within the creative production of craft practices" (Nimkulrat, 2012, p. 2; see also Candy, 2020, p. 234-237)-has asserted that knowing and doing are one and the same: that "problem-solving and molding of the material, thinking and motor skills are closely combined" (Dufva, 2017, p. 133). ...
... Creating innovative products addressing complex challenges requires integrating diverse disciplinary perspectives into comprehensive design practices (Archer, 1964;Auernhammer and Roth, 2023;Fuller, 1957;Moholy-Nagy, 1947). A main challenge is integrating diverse design practices that utilize new technological developments. ...
... Numerous scholars emphasized integrating various design practices (Archer, 1964;Auernhammer and Roth, 2023;Fuller, 1957;Moholy-Nagy, 1947). For example, need-finding, ergonomics, manufacturing (e.g., AM), and using new technologies (e.g., sensor technologies) allow designers to respond flexibly to various complex interdependent tasks. ...
This article introduces a Human-centred Engineering Design (HcED) practice, which values human aspects. This practice engages deeply into (1) human geometry and motion for specific tasks, (2) product and manufacturing complexities through rapid prototyping, and (3) the broader human task context. This cross-disciplinary method combines ergonomics, AM, sensor applications, and multiple design practices. The framework provides concrete tasks to drive innovative designs in engineering. The study, grounded in design research case studies, led to five new Paralympic Rowing world records.
... Designers and design researchers see Industrial Design as an intellectual undertaking that is complex, future focussed (Jonas, 1999;WDO, 2018); and inseparable from ethical (Nelson & Stolterman, 2012), environmental (Papanek, 1985), and cultural contexts. They see that it has a broad knowledge base (Buchanan, 1990;Papanek, 1985), and a powerful capacity for creative problem solving (Archer, 1964(Archer, /1984Buchanan, 1990;WDO, 2018). Whereas members of the public and policy makers may see it as surface decoration (Driver et al., 2011;Norman, 2017). ...
... Designers and design researchers see Industrial Design as an intellectual undertaking that is complex, future focussed (Jonas, 1999;WDO, 2018); and inseparable from ethical (Nelson & Stolterman, 2012), environmental (Papanek, 1985), and cultural contexts. They see that it has a broad knowledge base (Buchanan, 1990;Papanek, 1985), and a powerful capacity for creative problem solving (Archer, 1964(Archer, /1984Buchanan, 1990;WDO, 2018). Whereas members of the public and policy makers may see it as surface decoration (Driver et al., 2011;Norman, 2017). ...
Industrial Design education is poorly understood by laypeople but is present in Australian curricula from primary through to tertiary education levels. Designers and design researchers have long recognised the value of the broad-ranging skills, knowledge fields, and personal qualities design education imparts, but this understanding is generally not shared by the wider community who may see design as surface decoration. This research identifies indicators of value and relevance taken from the twenty-first century competences literature, then measures their presence in four different Industrial Design education settings. Two studies were undertaken. First, Industrial Design educators from primary, secondary, and tertiary levels were surveyed. Then diverse Industrial Design education stakeholders from education and non-education settings were interviewed. The studies gathered both quantitative and qualitative data on the value and relevance of current Industrial Design education in Australia. The result is a comprehensive analysis of the twenty-first century competences present in Australian Industrial Design education, which concludes with recommendations for ways Industrial Design education can benefit twenty-first century learners, as well as ways it should evolve to remain relevant.
... 32). Según (Archer, 1984) citado por (Cross N. , 2002, pág. 36). ...
Los procesos de diseño arquitectónico son un campo complejo y multifacético que requiere la integración de múltiples variables y la gestión eficaz de información diversa.
... Design methodologies originated in the 1960s (Cross, 2007), when discussions began on whether "design" was a scientific discipline or simply an artistic and craft activity. The challenge of creating systematic methods with which to solve problems and develop design solutions then emerged (Archer, 1965). The foundations for a 'science of design' were established in Simon's (1996) work in 'The Sciences of the Artificial'. ...
Services currently represent most of the present economic activity. Research methodologies that allow organisations to solve their service operations-related problems while facilitating the design and creation of new artefacts with which to support the complex reality that services represent are required. Action Research (AR) is a methodology that has proved to be effective in organisations by solving real problems. This methodology can be enriched with others that provide practical and usable solutions. This paper presents Design Science Action Research (DSAR), a methodology that combines AR and Design Service Research (DSR) and examines its usefulness for Service (Operation) Management research by supporting the development of new artefacts acting in the real context of organisations. DSAR has been applied in a case study concerning a service company that is addressing the transformation of its service design and delivery processes. We contribute to the literature on AR and DSR with a new methodology resulting from the combination of both approaches that can be used in order to conduct SOM research. We provide step-by-step guidance on its application and discuss the main advantages of using this combination in a real case.
... Design activity is a problem-solving process that aims to transform existing conditions into desired conditions. The process aims to produce new knowledge by utilising existing knowledge [5,54]. The design process progresses with studies that are not within a rigid framework [26]. ...
This article offers a perspective on the use of artificial intelligence software as an auxiliary tool in the design process and the positive and negative effects of its application. For this purpose, the potential of the MidJourney tool based on artificial intelligence to support creativity and motivation in the product design process was tested with design students. In the workshop with design students, it was determined that artificial intelligence can support the creative thinking process in terms of form and aesthetics by creating the outlines of design concepts and supporting the creative thinking process in terms of form and aesthetics and can also contribute positively to the student's time management. As a result of the analysis and interpretation of the workshop, positive results were obtained, like other studies that refute the existing negative prejudice against artificial intelligence. However, it is understood that there is a need to explain to the students how such platforms should be used and that the current concerns should be eliminated by raising students' awareness about the future of artificial intelligence. On the one hand, it will negatively affect unconscious student profiles or people who are accustomed to the ready-made design process and their creativity.
... Starting in 1954, Bruce Archer conducted research on design, examining the distinctions between artists and engineers. He developed a rigorous and systematic approach to the practice of industrial and engineering design [44] - [47]. His contributions to design methodologies and practices aimed to establish a science of design, considering design as linear and algorithmic process, and emphasizing the cognitive aspects in design thinking. ...
... Se busca contrastar, a partir del método de Archer, cómo los estudiantes inician su proceso de diseño siguiendo las fases analítica, creativa y ejecutiva. Cada una de estas fases implica el uso de diversas herramientas pa ra desarrollar el proyecto, desde lo inves tigativo hasta el grafismo y la maquetación (Archer, 1965). l Fase analítica. ...
Se presenta un resumen del proceso de representación de prácticas en aula utilizando instrumentos análogos y digitales en el desarrollo de ejercicios de diseño, aplicado al programa de arquitectura de la Universidad Antonio Nariño en la ciudad de Ibagué. Esta guía tiene como objetivo contrastar el método de Bruce Archer, estructurado en tres fases: analítica, creativa y ejecutiva, aplicadas específicamente al Taller de Continuidad Avanzada de la Universidad Antonio Nariño, 2021. A través de un análisis descriptivo se reveló cómo cada fase del método de Archer se integró al desarrollo de competencias creativas de los estudiantes en los ejercicios de diseño, abordando el uso de herramientas análogas y digitales. Este proceso permitió contrastar su experiencia educativa, evidenciando la eficacia y aplicabilidad de ambos tipos de instrumentos durante el semestre. Se lograron sustentar de manera estructurada los resultados obtenidos, destacando la importancia de la combinación de enfoques en la formación arquitectónica.
... Feedback is critical in this concept, as it is how a system self-regulates and evolves over time. Both Archer (1964) and Pahl and Beitz (1996;first edition in 1977) incorporate the notions of iteration and recursion more deeply when elaborating on Hansen's systematic approaches to design, considering the need for information feedback within the design process to properly account for such complexity. Recursion is still emphasized in the current literature on the mutual relationship between design and cybernetics, such as in Glanville (2007). ...
This paper explores the interplay of feedback principles in design and systems science. From their roots in engineering, biology, and economics, it investigates intersections between design, cybernetics and servomechanisms. The synthesis emphasizes the need for considering feedback in anticipating unintended consequences and proposes an integrative view reconciling fundamental assumptions from the different fields through simulation. This holistic approach underscores the pivotal role of feedback in understanding and addressing complex phenomena, such as rebound effects, in design science.
... Over the course of recent decades, a multitude of definitions pertaining to the design process have been formulated. During the 1960s, several noteworthy studies were conducted on design processes, including the analysis-synthesis model(Archer, 1965) and the systematic design approach(Jones, 1984). The analysissynthesis model represents the initial model developed to elucidate the process by which inexperienced students engage in problem analysis, comprehensively define the problem, and subsequently synthesise a solution. ...
... This study employed the PRISMA approach (hereafter referred to as the PRISMA 2020 statement), one of the most frequently consulted approaches for mixed quantitative and qualitative systematic reviews [7]. Unlike previous established design science research of purpose-oriented study, such as Archer's six-step design science research of programming, data collection and analysis, synthesis of objectives and analysis results, development, prototyping, and documentation [9,10], the PRISMA approach contains a 27-item checklist with detailed explanations of each item considered essential for reporting in systematic reviews, which make such an approach distinctive and enable researchers to provide a transparent, complete, and accurate process while exploring the state of knowledge in a chosen research field and identifying future research priorities [7]. ...
The contribution of the real estate industry to the global and regional economy is remarkable, yet in today's evolving digital technology and digital economy, the digital transformation of the real estate industry is lagging behind other industries. This is, on the one hand, due to the solidified processes and systems linked to the upstream and downstream real estate industries, and, on the other hand, due to the fact that digital technology disrupts traditional ways of doing business, making the industry full of uncertainty. The digital transformation of the real estate industry is a broad and emerging concept. Various related research fields are concerned with the penetration and application of different innovative technologies to the industry. This study provides a systematic review focusing on the field of smart real estate using the bibliometric analysis approach under the guidance of PRISMA. The bibliometric analyses were performed in RStudio by utilizing 22 scientific documents indexed in Scopus and Web of Science that were published from 2012 to 2022. The findings suggest that: (i) smart real estate research is still a new but rapidly emerging field; (ii) only limited academic institutions from a few countries, such as the University of New South Wales in Australia, have shown significant contributions; (iii) the research exhibits specific collaborative network characteristics, leading to a high concentration of authors and citations; and (iv) data-driven topics such as "machine learning," "information management," "data analytics" and "big data" indicate a high degree of research density and centrality.
... In his book "Makers The New Industrial Revolution" Anderson (2012) argues that everyone is now a designer by virtue of the accessibility to digital desktop manufacturing tools. Indeed, since the making of objects by means of digital tools necessitates the creation of designs for those tools to process, even by a designer's definition (Archer, 1984) we could call makers a subset of designers, albeit not by profession. Conversely, many designers are makers, 22% of participants at the 2012 Bay Area Maker Faire self-identified as designers (Maker Faire Bay Area Attendee Study, 2012), and almost 10% of participants in Korean makerspaces held a degree in art and design (Kwon and Lee, 2017) There are, however, crucial differences in design intent; in the case of the maker, designs are primarily created for the needs of the maker herself, as well as sharing, mixing and recreating by other makers (Anderson, 2012;Maker Market Study: An In-Depth Profile of Makers at the Forefront of Hardware Innovation, 2012), the designer on the other hand, designs for the production, marketing, and in the end, use by others. ...
The maker movement has garnered interest from many disparate fields, from engineering to business management, to behavioural science, to city planning. The reason for this interest no doubt stems from the promised potential of the maker movement to revolutionize not only product creation and manufacturing, but in extension the economy around it. This paper examines existing literature across disciplines for evidence of what the maker movement has achieved so far, with a focus on implications for the field of Industrial Design.
... Then we introduce the concepts of team learning behaviour reported by researchers of working groups. of design ' (e.g. Alexander, 1964;Archer, 1964;Gregory, 1966;Simon, 1969). The research focus on design cognition continued until today, now narrowing towards "examining how information is manipulated by reasoning processes to generate new solution ideas, judgements and decisions" (Ball & Christensen, 2019, p. 35). ...
This paper examines the role of team learning behaviours in the performance of architecture teams. This is significant to architects because most architects work in project teams. Although there is a growing body of research on the behaviours of design teams, this survey is one of the first studies conducted specifically on the learning behaviours of architects working in teams. We conducted a survey with 105 architecture firms in Victoria, Australia to collect perceptions of team learning behaviour and team performance, then interviewed nine architects to explore their team learning practices. Results from the survey demonstrated that team reflexivity, error communication and boundary crossing behaviours were positively associated with team effectiveness and employee satisfaction. Crown
... In reviewing the completed part 2 of the Design CUE (see Perhaps the image of the blue pandemic facemask affected student emotions (Marzano & Kendall, 2008) or as experienced users, the student designers had developed the ability to size up the face mask situation rapidly and determined the fit, if any, between the potentials embodied in precedent and the current situation (Boling, 2010;Cross, 2004;Lawson, 2004;Thomas & Carroll, 1979) or because students were tasked with "generating potential solutions based on principles, " in this case three levels of emotional design, these principles became "straightjackets which diverted the student designers attention from what really matter[s]" (Boling, 2010;Archer, 2004). ...
This design case is about Emotional Design Theory in application to the design of pandemic face masks. As we know designers rely strongly on theoretical knowledge in making design moves. To understand how students may learn to apply theory, research was conducted to test the effectiveness of an assessment called Design CUE (Conceptual Understanding Evaluation). In this case, I describe the research study context and rationale for the development of the Design CUE as an instructional assessment used to teach emotional design to undergraduate students at a large midwestern research university. Emotional design is a threshold concept in design education developed by Norman; it identifies three levels of focus: visceral, behavioral, and reflective. This framework was presented in class and learner performance was evaluated through the completion of the Design CUE, the purpose of which was to transfer learning by bridging concepts learned in class to a design task. I report how the design succeeded in teaching emotional design theory but failed to initiate greater student creativity in applying theory, most notably in the visceral level of emotional design. I document the undergraduate course in which the design was used. I also provide the context of the research study which sought to understand if students could apply the theory of emotional design and how they incorporated emotional design into the design of pandemic facemasks.
... Designers constantly evaluate processes and outcomes to determine whether design proposals satisfy human needs and wants. The design community has long advocated for a better culture of design evaluation, which helps with decision-making during the design process (Alexander, 1964;Archer, 1965;Cross, 1984;Jones, 1992). There are a variety of design methods and tools for evaluation, such as user testing, ethnographic-inspired techniques, or expert evaluation. ...
In the design processes, designers make decisions by intuition, experience, or support tools. In the case of design for changing behaviours, designers evaluate their strategies or artefacts using tools derived from other disciplines; therefore, there is no framework for evaluating alternatives in the early stages of the project process in this area. This study presents an evaluation tool formulated from heuristic design principles to change behaviours, which were validated through a literature review and tests in design projects for changing behaviours. The results indicated that the designers, when evaluating their ideas with the proposed tool, made decisions focused on generating and adjusting their ideas to these principles. During the tests, participants did not select or reject proposed ideas; instead, the tool served to reflect and adjust the design proposals to the design theories for behaviour change implicit in the heuristic evaluation tool.
... Design thinking (DT) is an approach to solving complex problems that has gained considerate popularity in business and in academia. Initially, engineers used DT to solve problems related to product development and innovation in production processes, but the approach was later adopted by other fields, including architecture, cybernetics, ergonomics, marketing, and management [1][2][3][4]. Nowadays, it is used in many organizations of various types. ...
Design thinking (DT) emerged as a popular method of problem solving and idea generation in creative teams. However, despite the rapid increase in interest in DT as a practical tool, evidence for its effectiveness is rather scarce. Furthermore, neither the theory underlying the methods used in DT nor the definition of DT is coherent. As such, we have decided to introduce a new approach to DT by designing an evidence-based methodology and testing its efficacy among teams working on a specific task. In this article, we present the design thinking method (DTMethod), developed by an interdisciplinary team of practitioners and academics. We also present empirical evidence on the effectiveness of the DTMethod in the teamwork setting. In our study of 39 teams, we found that by using the DTMethod teams achieved more favorable results in terms of utility and meeting set requirements but not in terms of cost or time efficiency. We also found that individuals working according to the DTMethod reported experiencing less positive emotional states but were, overall, more satisfied with the experience and rated teamwork more favorably in terms of cohesiveness and team effort.
... Este método ha ido transformándose desde la década de 1960, cuando fue considerado como un enfoque particular para la solución creativa de problemas (Archer, 1965;Arnold, 1959). Esta metodología puede producir soluciones que satisfacen una necesidad novedosa o soluciones que satisfacen una necesidad antigua de una manera completamente nueva. ...
Los marcos regulatorios, que determinan la participación de las partes interesadas, deben respetar los principios para una participación eficaz y que sea oportuna, inclusiva, transparente e iterativa. Sin embargo, la creación e implementación de marcos regulatorios sobre temas innovadores, en ocasiones, suele estar sesgada por una parte dominante en la discusión. Este artículo demuestra cómo el enfoque del pensamiento de diseño, principalmente en su fase de co-creación, es potencialmente propicio para la creación e implementación de las denominadas estrategias de Inteligencia Artificial (ia), debido a su énfasis en el respeto por la dignidad humana y otros atributos fundamentales, como la empatía, aunque plantea diversos retos para su aplicación. Este enfoque se basa en una metodología deductiva, a través del proceso de creación y socialización de las estrategias para la ia, que fueron desarrollados en Canadá y Colombia. Con este artículo se busca incentivar la innovación tecnológica y regulatoria a través del pensamiento de diseño para que sea considerado como parte integral de la convocatoria real de las múltiples partes interesadas, con el fin de facilitar la creación de un programa proactivo de ética digital para prevenir las preocupaciones relacionadas con la adopción de la ia a gran escala.
... To achieve this, the designer must consider aspects such as technology, sociology, ergonomics, psychology, philosophy, finance, and ecology (based on Frenkler, 2020). While designing, designers usually follow a design process, however, there are various opinions on the definition of the design process with its stages and approaches, techniques, and operations (Archer, 1984;British Design Council, 2020;Bürdek, 2005;French, 1985;Heufler, 2004;Hirsch, 2014;Lawson, 2005;Pahl & Beitz, 1996;Stadler, 2021). Moreover, while going through the design process, designers usually execute activities such as researching, prototyping, evaluating, reviewing and presenting with the help of design methods (based on Gericke & Blessing, 2012;Martin & Hanington, 2012;Stadler, 2021;Wynn & Clarkson, 2018). ...
Besides application fields such as entertainment and marketing, the technology of Virtual Reality is also applied in research and practice, including domains such as automotive, architecture, and construction. Furthermore, VR has been utilized for several activities in design practice and design research. However, the impact of this technology on design as a profession remains to be investigated. Thus, in the present study, an integrative literature review is presented to investigate the potential impact of Virtual Reality on design research and design practice. The findings indicate potential advantages on different levels. VR has the potential to enhance problem identification due to laboratorial environments and to foster co-creation due to enhanced motivation and the establishment of synergies between the involved stakeholders. Furthermore, it supports prototyping activities due to its capabilities for realistic scaling and perspectives. And lastly, VR has proven to be advantageous for design evaluations and reviews due to its visualization and immersion potential. Drawbacks of using VR for design research and practice involve technical limitations such as restricted field of view, limited performance, but also aspects such as missing accuracy for prototyping and the absence of haptic feedback. Future work will involve an extended review involving further literature and application domains.
... Evident from the above, the growth and differentiation of niche areas produce multiple concurrent systems approaches and tools, adapted to different applications of systems ideas (Ryan, 2014), which is of great value, but often confusing to laypersons. For example, the influence of systems science contributed to a recent shift in design thinking, moving it from its original focus as artefacts of design, to the process of design (Archer, 1965). This movement is directly influenced by the multi dimensionality of systems science. ...
The book serves as basic text to an Applied Complexity Science course offered at the University of Cape Town. It provides insights on the systems sciences, how we practice it to a degree, and the reflexivity that compels ongoing improvement
... Design should create tools that effectively protect the privacy and confidentiality of users' information, and ultimately their dignity, integrity, and life. In practice-since design is about turning ideas into things (Archer 1984)-designers must help people gain control of their informational self. ...
BigTech corporations and governments erode privacy rights for alleged legitimate interests and public security reasons. The business model fueling this process, called ‘surveillance capitalism’, relies on increasingly sophisticated means to capture people’s data, often taking advantage of people’s willingness to share personal information over digital platforms to enable massive surveillance. This paper argues that the violations of users’ privacy by the recipients of personal information exchanged through messaging apps threaten the dignity and wellbeing of the affected users. Building on our recent research on privacy infringements between end-users on the messaging platforms WhatsApp and Telegram, we assess Signal’s features to understand whether it allows users to exchange personal information securely. Signal is praised for not being controlled by a large corporation and for allowing users to send end-to-end encrypted messages that are stored directly on the users’ devices. However, encryption does not guarantee that the information exchanged is properly used by the recipient. The paper shows that adequate informational privacy against threats by other users can only be achieved through changes in design practice. KeywordsDesign ethicsInformational privacySignal appUX design
... Aesthetics and logic) -препознавање неопходности увођења системских метода решавања пројектантског проблема (Archer 1963a), (2) Пројектовање и систем (енг. Design and system) -анализа чина пројектовања са фокусом на креативном елементу у процесу пројектовања који фокус поставља на човека уместо на механички чин (Archer 1963b), (3) Добијање пројектног задатка (енг. Getting the brief) -афирмација прве фазе пројектовања у којој се успоставља пројектни задатак (Archer 1963c), (4) Испитивање доказа (енг. ...
The dissertation is based on the belief that the need for specific analytical research strategies and the development of a methodological framework for their application are the central problems in the contemporary field of architectural research, education, and practice. In this sense, the focus is on discovering the contemporary nature of architectural programming methodology, its development, and its roots. The reason and topicality of the research are thus reflected in the need to redefine the conceptual and methodological framework of the program in architectural discourse and design process in accordance with new generations of design methods and schools of thought. In order to decode all challenges within the design discipline, and highlight the process-based nature of design, the thematic framework of research is directed towards paradigmatic argumentation of architectural programming methodology and its position in the contemporary context of research and practice through a triple research position – epistemology, praxiology and phenomenology of design. The primary goal of the research is aimed at developing a scientifically-based presentation and critical explanation of the position and role of the conceptual-methodological framework of the program in architectural discourse as an analytical and multicriteria-oriented apparatus for systematizing ideas, defining design problems, and evaluating final design solutions. The research results include three pillars: (1) concept – systematized review of the theoretical framework and practical application of architectural programming methodology, and program definition in architectural discourse with a chronological review of bibliographic sources and classification of precedents by paradigms, (2) context – a systematic review of architectural programming methodology development and application in the local context, and (3) curriculum – identification of programming perspectives and models, and explication of their role within contemporary architectural research, education and practice. Through the study of fundamental design methods and methodology of architectural programming, the dissertation resulted not only in a systematized paradigmatic review but also in practical knowledge of the relationship between programming perspectives and spatial morphology. In addition, the application of research results was established by the introduction of an indirect subject of research, the spatial framework of the Third Belgrade.
... 27 One contemporary way of explaining and visualising the design process is the Double Diamond (Figure 1), 28 which was developed by the Design Council in 2005. The Double Diamond was influenced by earlier work on creative problemsolving 29,30 (see also the Element on design creativity 31 ). It remains a popular tool for explaining design to non-designers, 32 with the two diamonds representing a process of exploring an issue more widely or deeply (divergent thinking) and then taking focused action (convergent thinking). ...
Many healthcare improvement approaches originated in manufacturing, where end users are framed as consumers. But in healthcare, greater recognition of the complexity of relationships between patients, staff, and services (beyond a provider-consumer exchange) is generating new insights and approaches to healthcare improvement informed directly by patient and staff experience. Co-production sees patients as active contributors to their own health and explores how interactions with staff and services can best be supported. Co-design is a related but distinct creative process, where patients and staff work in partnership to improve services or develop interventions. Both approaches are promoted for their technocratic benefits (better experiences, more effective and safer services) and democratic rationales (enabling inclusivity and equity), but the evidence base remains limited. This Element explores the origins of co-production and co-design, the development of approaches in healthcare, and associated challenges; in reviewing the evidence, it highlights the implications for practice and research. This title is also available as Open Access on Cambridge Core.
... Design projects are bounded by timeframes, directed to achieve specific tasks that address unique problem-setsor put differentlyare motivated by a plan (L. B. Archer, 1965). Design skills are formed through action and become tacit knowledge when they are cultivated through the experience of practice-based learning, reflection, and critique. ...
Global environmental and social challenges are forcing organisations to reconsider how to generate value and growth. As customers seek value beyond satisfying personal needs toward societal concerns and capital markets support firms with a social purpose, the meaning of creating sustainable strategic advantage is challenged. Over the last decade, many organisations have adopted design-led approaches to pursue strategic innovation that delivers value to customers and stakeholders. The rise of design has resulted in diverse applications across contexts – managers are now working in more 'designerly ways' to innovate products and services and increasingly develop new strategic directions. Yet, we know little about what defines 'strategic design' as a professional practice or how strategists can effectively leverage it to respond to economic change or even broader consumer and shareholder demands. This study explores the rise of design (thinking) in strategy development and examines the opportunities within strategic management through a strategy-as-practice lens. We reviewed the key literature spanning strategy-as-practice, design thinking and design theory, and strategic design as it relates to strategic management – to establish a theoretical basis for further researching the practices of design as a strategy practice. We believe that the time is right to critically review the placement of design thinking related to creating strategy and establishing strategic design as a strategy practice. Our conceptual framework of ‘strategic design as a practice’ consolidates and aligns design-led approaches with strategic management theory. We also suggest future avenues for research.
... Innovations and new concepts in designing are often reported as sudden illuminations. In this idea creative mutation is considered as the axis of designing process (Archer, 1984). Some theoreticians believe that all the steps and processes in designing are creative although there are some documents that indicate that the degree of creativity can be faithfully evaluated (Amabile, 1982(Amabile, , 1013. ...
In this paper the designing products of B.A. Sophomore students of architecture in Tehran University who were divided into two kinds of learning namely technical and skill-based learning. In technical learning the subjective steps of creativity process i.e. "insight", "preparation", "incubation", "intuition", and "verification" were discussed and it was suggested that these steps cannot be taught but in skill-based learning the objective steps of creativity process i.e. "combination", "mutation", "analogy", "first principle" and "emergence" in a form of an instructional and designing practice were studied. In skill-based learning, three kinds of learning namely "passive", "active" and "reflective are utilized. Passive learning is used by the student to discover the knowledge and skill of the instructor. The active learning which is based on the idea is utilized for helping the novice learners. The result of the case study indicated that the perception through creativity in the designing process is like building a bridge on the knowledge gap between teacher and student through studying the samples of architecture as an active learning and student's implicit knowledge as a reflective learning. In this paper the emphasis is on the values of education and the very important point about learning designing is the access to the creativity as a product of an educational process. To this end the instructors' concern on the quality of improving the novice learners' designing ability and considering the suggested model in order to evaluate the designing improvement is quite necessary and indispensible.
... A popular definition or description of the process view of designing is as a goal-oriented problem-solving activity (Archer, 1965). The design process has been described as the cycle of design analysis, design synthesis, and design evaluation (Jones, 1863;Dasgupta, 1989). ...
... 3 Mas Archer (1964) indica que: "Na prática, os estágios se sobrepõem e, muitas vezes confundido, com retornos frequentes aos estágios iniciais, quando enfrentam dificuldades e obscuridades encontradas." (ARCHER, 1964 apud DUBBERLY, 2004) 4 Portanto, apesar de esse procedimento ser linear, pode contar com os feedbacks das etapas posteriores, o que o torna mais dinâmico e versátil para ajustes finais no projeto.Diagrama reeditado na revista Ulm e vários outros lugares(ARCHER, 1964; CROSS,1984CROSS, , 2000ROWE, 1987 apud DUBBERLY, 2004. ...
Este trabalho trata das inovações do design e investiga um modelo de inovação que se proponha à refletir sobre a prática da sustentabilidade no móvel doméstico. Coloca como objeto de estudo o home office, que é ambientado em um novo contexto econômico e social.
... These types of models are based on systematic processes, beginning with the analysis of the problem and avoiding preconceptions. Examples of prescriptive models are the Pahl and Beitz model [38], Pugh's Total Design model [34], and Archer's model [39], among others, which are predominant in engineering. Descriptive design models treat the design process from a cognitive point of view, structuring the problem in a cyclical way starting with solution guesses. ...
This paper provides a methodological proposal for the design and development process
of a remotely operated vehicle (ROV). The design core and product design specifications (PDS) of Pugh’s Total Design model are considered, with a focus on the early stages of the product design and development process. A modularization of the functional groups of an ROV is proposed, focusing attention on the sensor system. The main concepts regarding ROVs are presented, Pugh’s Total Design model is explained, justifying the application interest in technological projects, a methodological proposal adapted to ROV projects is provided, based on Pugh’s Total Design model, with special interest in the early stages of the new product development process (NPD), the suitability of applying our own model of industrial design engineering in an ROV system is analyzed, and the contribution
of this study is evaluated, proposing future work and lines of research.
... Whilst design research began in earnest in the late 1960s and early 1970s (Cooper, 2019) with discourse around design science (Buckminster Fuller, 1964;Gregory, 1966;Simon, 1996) and design methods (Jones 1963(Jones , 1980Archer, 1965), there was also an increase in the consideration of the unique nature of design, and this provided the context for the further development of design research generally, and more specifically, for later work into the way in which designers think and practice (Lawson, 1980;Cooper, 2019). This also led to significant research and further discourse around the relationship to innovation. ...
Design has evolved, over the last half century, as a profession and area of research, in which significant philosophical changes have occurred. Design moves within economic, social and environmental paradigms, it has not always created benefit. This paper discusses the transition of design as a discipline and how it must be in a position to facilitate and champion values over pure economics.
En la actualidad el método investigativo-creativo ha tomado un papel de gran importancia en el campo del diseño y la arquitectura, el cual es reflejo de una sociedad racionalista enfocada o inspirada en el pensamiento crítico producto de una larga evolución de métodos y técnicas aplicados para resolver determinado problema. Las metodologías han significado un cambio radical al momento de proyectar debido no solo a su aporte de recopilación e interpretación de datos, sino también por el fuerte soporte teórico y descriptivo que aporta a diferentes investigaciones en la rama del diseño y la arquitectura. En el presente documento científico se muestran los resultados del uso de las metodologías de investigación aplicados al caso de estudio Propuesta de diseño residencial mediante containers en la ciudad de Cuenca-Ecuador, para la familia Arévalo (2019). De esta manera, el análisis permite entender a profundidad cómo el proceso de cada uno de los métodos utilizados posibilita al investigador profundizar su conocimiento en cada tema y dicho conocimiento genera un vínculo y es un punto de progreso y de retroalimentación para el desarrollo de nuevas ideas o incógnitas y así obtener un óptimo resultado.
In this chapter, we explore the interplay between service design and design culture, tracing the roots of service design within the Italian project-centered design tradition. Through an extensive literature review, we move beyond viewing service design merely as the design of services, emphasizing the importance of interactions. We identify three critical interactions in service design: between users and services, users and touchpoints/interfaces, and users and stakeholders. These interactions are examined through the lenses of dematerialization, servitization, and innovation, highlighting their implications for new service value propositions. We stress the significance of user-stakeholder interactions, analyzing their nature and strength within the context of modernity characterized by liquidity, flexibility, and ambiguity. Ethical considerations in designing for liquid communities and sustainability are underscored. Additionally, we address the often-overlooked aspect of service as experience, and conclude with an operative definition of service design, discussing its challenges and relation to design thinking.
Organizational design traditionally refers to the idea that managers can help organizations
respond to changes and improve efficiency by redefining structures and procedures. In this
dissertation, I suggest an alternative and more dynamic view of organizational design based
on insights from pragmatism, design theory, and organization theory. Specifically, leveraging
insights about the social nature of organizations with the imaginative nature of design, I
argue that pragmatism is best suited to combine organization and design. Organizations can
be understood through the pragmatist concept of habits, while the organizational design
processes can be theorized through the pragmatist concept of inquiry. The thesis consists of
four chapters.
In Chapter 2, I (with co-authors Katharina Dittrich and Davide Nicolini) explore the rationalist
perspectives on organization design and how these led to stability-centered assumptions. I
then review post-rationalist alternatives, that already offer more dynamic perspectives on
organizing, designing, and organization design.
In Chapter 3, I (with co-author Vern Glaser) explore the topic of designing organizational
routines. I show that organization and design theories use dominant cognitive and latent
pragmatist perspectives. Although practice-based, process, and Design Inquiry perspectives
all have existing links with pragmatism, a full-fledged pragmatist approach to these topics is
lacking, and researchers have limited themselves to specific concepts and theories from
pragmatism. The chapter thus foregrounds the need to fully develop research approaches
and methodologies that build on pragmatism and problematize the theoretical assumptions
underlying routine design – and organization design more broadly.
In Chapter 4, I (with co-author Philippe Lorino) develop a pragmatist methodology for
researching organizational design. I explore how researchers can support practitioners in
creating innovative change in organizations. The chapter combines inquiry, community, and
dialogue with withness. This allows researchers to engage with practical problems and how
to improve problematic situations with practitioners.
In Chapter 5, I (with co-authors Katharina Dittrich and Davide Nicolini) develop a dynamic
perspective on organizational design. By drawing on the pragmatist concepts of habits and
inquiry, I problematize the existing cognitive assumptions about organization design. I
instead propose pragmatist organizational design as a continuous process of redesigning
habits through inquiry. This dynamic approach to organizational design better explains the
dynamics of organizational change.
In endogenous community design, design experts should act as facilitators to provide participants with foundational frameworks and tools that facilitate collaborative innovation and enhance participants’ ability to do what they want to do and achieve the lifestyles they want to live. The main research objective of this chapter is to improve and enhance the collaborative innovation capacity of participants. Through innovative methods research, appropriate methodologies and toolkits for participants are provided to facilitate endogenous community capacity building. Figure 5.1 illustrates the logic of methodological formation in this chapter. First, innovation methods are extracted from frame innovation and extenics methods. Second, the three meta-capabilities for participants are derived from the design mode analysis, which are expanded into an endogenous meta-framework and further deepened into an endogenous design system model (EDSM). Finally, the capacity building methods of this chapter is proposed in conjunction with the innovation methods.
Service design emerged in the last decades as the design practice that creates the conditions of interactions in the context of services. Contemporary business models involve interactions between users and the service and between end-users, where personal information is exchanged and processed. Hence, in a world labelable as ‘surveillance society’ or ‘surveillance capitalism’, the privacy and confidentiality of users’ information, image, and identity face serious threats. Building upon the human-centered design paradigm, service design is called to take an ethical stance to design services that do not jeopardize users’ privacy. First, however, service design should build its own comprehensive designerly understanding of privacy, based on input from other disciplines and on research, through design ethnography, to meaningfully tackle privacy challenges. Then, service designers should develop a designerly, project-based approach to protect informational privacy. Through tests and the solution to speculative and thought problems, service designers develop a service design thinking for privacy to design privacy-oriented services. We argue that a culture of designerly understanding of privacy shared across the service design community leads to a better service design.
Projektowanie celów polityki bezpieczeństwa jest najważniejszym elementem procesu planowania strategicznego i zarządzania bezpieczeństwem państwa. Niestety warunki panujące w Polsce nie sprzyjają zarówno teoretycznemu, jak i praktycznemu projektowaniu celów bezpieczeństwa. Obowiązujące schematy skutkują projektowaniem celów, które nie uwzględniają złożoności środowiska bezpieczeństwa, i są prostą odpowiedzią na pojedyncze, pojawiające się problemy bezpieczeństwa. Niniejszy artykuł przedstawia autorską koncepcję projektowania celów polityki bezpieczeństwa o dużej skali integracji. Uwzględnia ona współwystępowanie setek tych kategorii, wpływających na państwo w sposób spójny.
As equipes virtuais, assim como o trabalho remoto, possibilitam o agrupamento de indivíduos multidisciplinares de forma descentralizada, tornando, assim, as empresas capazes de atender as exigências competitivas do mercado e a concorrência global. Porém, a mediação da tecnologia e os novos processos comunicacionais podem afetar o desempenho da equipe à medida que surgem questões relacionadas aos aspectos psicossociais e à estruturação e padronização da informação. Nesse sentido, o presente trabalho tem como objeto de estudo a influência da comunicação mediada pelas tecnologias no desempenho das equipes em projetos de design de moda, com ênfase na indústria de confecção do vestuário. As modificações nas estruturas dos mercados, devido a incrementos tecnológicos, têm trazido desafios em relação à manutenção dessas equipes. No desenvolvimento de produto de moda, foi investigado como se estabelecem os processos de comunicação nos principais setores da fase executiva. Os principais indicadores de desempenho usados foram a satisfação relacionada a aspectos psicossociais; a eficiência associada a questões relacionadas ao retrabalho, conflitos e falta de convergência de significado; e a eficácia, medida através dos resultados alcançados em relação às metas estabelecidas. Através da triangulação de dados qualitativos, coletados em quatro empresas de desenvolvimento de produto de moda, com dados quantitativos extraídos de um questionário on-line, os resultados demonstraram que a complexidade da comunicação no design de moda se estabelece à medida que certas etapas necessitam de uma comunicação estruturada, padronizada e precisa, enquanto outras envolvem aspectos como interpretação de imagens, análise de cores ou formas e necessitam de uma comunicação mais rica e intersubjetiva, com alta variedade de símbolos de preferência síncrona.
There is an increase in complexity from the initial period of the digital age as we move on to the industrial revolution 4.0 bringing in more interconnectedness, cloud-based computing, rapid dynamic changes, and the coming together of the physical, digital, and biological worlds in an unprecedented way. The paper examines the complexities of industrial revolution 4.0 and analyzes them through the lens of both systems thinking and design thinking. The study elaborates on aspects of systems thinking which could help toward understanding the complexities of industrial revolution 4.0. This includes an understanding of wicked problems, life cycle, interrelationships, and interdependence between components of a system; system dynamics; understanding systemic challenges through multiple perspectives. The study further examines various characteristics of design thinking including the human centric, empathetic, creative approach, and the evolution of systems thinking approaches in design. Innovation requires not only a broad understanding of macro-context for meaningful opportunity mapping but also a creative approach for humane tangible interventions. The paper puts forth the argument for the need to use systemic thinking for understanding the multilayered complexities of IR 4.0 and design thinking for a generative creative approach to find meaningful intervention possibilities at various levels: product, process, service, systems level. The paper interweaves design and systems thinking and proposes constructs to change mental models for innovation in the context of IR4.0. This includes design approaches to deal with challenges of IR 4, relation between understanding complexities through a systems approach, and the resulting design solutions; and new design directions responding to the needs of IR 4.0KeywordsInnovationIndustry 4.0Systems thinkingDesign thinkingConstructsMental models
Abstract:
Problem statement: In the architectural design process, creativity plays an essential role in idea processing. Since creative ideas do not emerge without mental background, the ideas of the past contribute to future creations. Given that over years nature has been referred to as a natural selection for its efficiency and diversity, it can serve as a model in the creative process of the architectural design model. This study aims to focus on the creative process, design process and bionic science at the same time. Previous studies have not integrated three components.
Research objective: Since architecture is fundamentally interdisciplinary, this research attempts to highlight the role of design process systems, creativity and bionic science. Then it describes their associations in the conceptual and logical systems. It also attempts to establish a meaningful and purposeful relationship between the above-mentioned elements and concepts. The impetus of this study is to understand how bionics can promote creativity in architectural design. It is hoped that this study serves as a baseline for the nature-inspired process of creative architectural design.
Research method: This research employs logical reasoning and uses analytical-descriptive analysis to establish a relationship between creativity, architectural design and patterns derived from nature. In terms of the purpose, this study is applied and in terms of the type, it is also a review.
Conclusion: The research findings confirm that nature is a suitable platform for improving the visual thinking strategy of beginners to design ideas. The use of visual descriptors as a cognitive strategy leads to visual retrieval of mental latency in the idea generation stage, which leads to design diversity. Knowledge of the components of nature provides us with strategies to experience structures and systems. This helps us gain a better understanding of the problem of architecture and find a variety of solutions. It also enhances the creativity of novice designers. The stages of the design and creativity process promoted by bionic science overlap. The basic stages of the creative design in bionic architecture include a) using a bionic framework for the architectural design problem, b) preparing a checklist of nature based on the problem, c) examining the accuracy of the rating scale of the relationship between this list and the design problem.
Keywords: Architectural design, Design process, Creativity, Creative process, Nature, Bionics.
This chapter shows, in a documentary way, the role of nopal in the social and cultural development of the municipality of Sonsón, Antioquia, highlighting its history and its impact on hundreds of families of this region. The nopal has historically been cultivated in Sonsón to harvest one of its flagship products, the fig; an exotic fruit cultivated primarily for export, and much less for local consumption. However, it is known that all parts of the plant are usable, including the waste associated with its pruning. In Colombia, the complete exploration of the entire plant has been timidly explored, so new potential uses beyond harvesting the fruit are unknown.
This document exposes the potential of nopal waste in the development of craft, art, and product design pieces using eco-design strategies based on circular economy trends. Hence, a look to an integral use of the plant allows the tradition of the so-called “fig trees” to endure over time, avoiding the threats associated with new agricultural products that promise the farmers “greater benefits” for the livelihood of their families and the development of the region.
This look, in addition, will contribute to responding to some of the Sustainable Development Goals - SDGs through interdisciplinary work between academy, public and private sectors, and citizen interest, promoting the encounter of scientific and artistic communities around the nopal, through the development of a museum exhibition in Medellin’s Botanical Garden, which allows to exalt the nopal as an alternative for the sustainability of families in the municipality of Sonsón.
This article gathers the results of a research on the project’s pedagogy, which, starting from the analysis of the contemporary theories about it, presents their common horizons to contrast them with results obtained in previous research. Therefore, through a critical approach it was proposed to elucidate terms used to refer to the design project and validate modifications to a project method proposed in the education of designers. That was necessary to adapt it to the online workshops produced by COVID-19 confinement in 2020. Those modifications focused on its most critical activity, in-process product validation, which is essential to evaluate products’ environmental and social sustainability, among other things, and the training in responsible design practice.
This work presents the pedagogical approach and the outcomes of a course aimed at teaching sustainability through the lenses of materials. The last decade has been crucial to finally reach a mature state of awareness of how the material side of our productions and its poor management is at the base of many environmental problems. Such awareness pushed the emergence of new materials, motivated by the search for more sustainable alternatives and a re-evaluation of biological processes capable of creating materials and artifacts through bio-based and bio-fabrication techniques. The clear environmental crises also pushed the design field to pay more attention to materials; but to date, for designers, understanding the sustainability of materials and their real impact on life cycle products is still not trivial; new biotechnologies are opening up the possibility for designers to experiment with organic sources and living materials. The academic course described in this study focuses on a didactic method based on a practice-based approach; the students are guided to learn the key aspects that can define a material in
a sustainable context, improving their material development knowledge and lab working skills. A learning-by-doing path is developed in three workshops tackling material sustainability with increasing difficulty and understanding. The learning journey starts with an analysis of local wastes for the development of new DIY circular materials. The second step introduces the living variable of bio-fabricated materials, amplifying the complexity of the project and adapting to nature’s time scale. The last step requires a higher understanding of the synergistic mechanisms
between biotic and abiotic agents in an ecosystem by exploring bioreceptive materials. These three material approaches have been selected for the design methodologies and sustainability principles they have in common. Using classroom observations and a survey, the authors examined student experiences and perceptions of the proposed syllabus in order to understand its efficacy in terms of the last student’s material and sustainability awareness. This educational path has proved to deeply connect the students with materials’ life cycles and local and natural resources, gaining a deeper understanding of regional environmental issues potentially having a material design solution.
This master's thesis is a qualitative empirical research for multidisciplinary conceptualization of an urban public space, with emphasis on development processes for affirmation of ecological and social sustainability, and structuring of socio-spatial relations. The research includes an inter-contextual analysis of a comprehensive theoretical context and a specific case study that highlights urban community gardens as potential initiatives for spatial and social reshaping. The findings of the research support a conceptual design of public space that popularly does not result in a tangible product, but can also be activism for rethinking what exists or a continuous process of socio-spatial relations. The research complements the theoretical framework of the design methodology with conceptual analysis of the design as a process of continuous integration of several disciplines.
The startup failure rate in Egypt exceeds 95%, while research approaches this issue quantitatively, this study aims to understand entrepreneurs’ challenges through a designer’s lens. As research continues to explore how design adoption is growing in business in the West (Sheppard, Sarrazin, Kouyoumjian, & Dore, 2020), the contribution to knowledge in this study is defining how the Egyptian entrepreneurial ecosystem perceives and uses design, and generates internal factors of startup’s success, which are founder’s experience, hired caliber and culture. The qualitative investigation used Grounded Theory as the primary method, it starts by a simple aim, which is to understand three entrepreneurial ecosystem stakeholders’ design perception (entrepreneurs, designers and business experts). Accordingly the following research objectives were achieved; understanding designer and non designer entrepreneurs’ failure reasons, understanding the entrepreneurs’, business experts’ and event makers’ view of design, understanding designers’ feedback on working with startups and understanding the success factors of Expansion phase startups’ entrepreneurs.
The results direct towards four main issues; that failure reasons and challenges are submerged from lack of knowledge when it comes to self cognizance and practical skills. While the designers’ challenges are overwhelming, their miscommunication with their clients resulted in a lot of them. Also, numerous of similarities and linkages take place between findings in the first and final research objectives listed above.
In conclusion, through one open business model, three proposed services are presented to tackle the problems faced by designers and entrepreneurs. This research sheds light on the importance of defining design in Cairo’s entrepreneurial ecosystem by observing it through several stakeholders, then using design (Design as Storytelling + Service Design) as means to solve entrepreneurs’ challenges.
em>Pada pembuatan iklan layanan masyarakat ini adalah bagaimana cara mengajak masyarakat agar terpengaruh oleh iklan ini supaya masyarakat lebih patuh terhadap masalah kebersihan lingkungan, terutama masalah sampah. Pembuatan iklan layanan masyarakat yang bertemakan “Jangan Kotori Aku” dilihat dari kawasan,wilayah dan daerah, maka masalah pokok dalam pembuatan iklan ini dari sungai yang penuh sampah, dan sebagainya. Dalam perancangan ini nantinya setelah pengumpulan data selesai, maka akan di lakukan pengamatan pada poster atau iklan dengan tema yang sama, yang telah lama di sosialisasikan kepada masyarakat. Perancangan di mulai dengan brainstorming kemudian di spesifikasikan data tersebut menggunakan cara Mind Mapping. Dengan menggunakan pengolahan data tersebut, maka akan menghasilkan beberapa bayangan visual berupa foto, layout, ilustrasi dan warna. Dalam perancangan program kebersihan ini setelah data di lengkapi, kemudian dilanjutkan dengan sketsa dasar dengan beberapa alternatif di dalamnya, lalu di seleksi kemudian di lanjutkan dengan menggunakan sofware grafis dan di aplikasikan ke kertas injekpaper, sampai pada akhirnya tercipta final desain yang di aplikasikan ke dalam media utama maupun media pendukung, kemudian media ILM Utamakan Keselamatan Kerja siap di tempatkan di tempat yang paling trategis agar para masyarakat dapat melihat media ILM tersebut dengan baik. Dalam hal ini perancang akan membuat iklan layanan masyarakat dalam bentuk : poster atau spanduk. Hasil perancangan ini, dapat direkomendasikan sebagai alternative model pembangunan pembelajaran, sebagai upaya untuk meningkatkan motivasi belajar, displin, dan bersih mahasiswa serta masyarakat Indonesia.</em
Literature suggests that people typically understand knowledge by in-duction and produce knowledge by synthesis. This paper revisits ab-duction, a mode of reasoning that has been explored by several re-searchers as a crucial mode of reasoning underlying design synthesis. Our paper expands earlier work on abduction by proposing a more de-tailed model for abduction based on the seven elementary constructs of the SAPPhIRE model of causality. We argue that this model provides a more comprehensive understanding of abductive reasoning than those proposed by earlier authors. Explanations of abduction in design using the proposed model of abductive reasoning have been compared with those using existing models of abduction; the comparisons indicate the proposed model to be a more extensive model of abduction for design synthesis. Further, the model has been used to explain the empirical findings on abduction from the literature, lending support to the claim of its explanatory capacity.
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