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From a Design Science to a Design Discipline: Understanding Designerly Ways of Knowing and Thinking
Abstract
In the past couple of decades we have seen a significant shift in focus within the field of design research. It is a shift
from the aim of creating a ‘design science’ to that of creating a ‘design discipline’. The focus is now on understanding the
design process through an understanding of design cognition, or the ‘designerly’ ways of knowing and thinking.
... (Cross, 2007b;Archer, 1995 (Cross, 1982;2007a;2007b;Owen, 1998;Narvaez, 2000;Archer, 1995 (Archer, 1995;Cross, 2007a;Zimmerman & Forlizzi, 2008;Downton, 2003;Frayling, 1993 ...
... (Cross, 2007b;Archer, 1995 (Cross, 1982;2007a;2007b;Owen, 1998;Narvaez, 2000;Archer, 1995 (Archer, 1995;Cross, 2007a;Zimmerman & Forlizzi, 2008;Downton, 2003;Frayling, 1993 ...
... (Cross, 2007b;Archer, 1995 (Cross, 1982;2007a;2007b;Owen, 1998;Narvaez, 2000;Archer, 1995 (Archer, 1995;Cross, 2007a;Zimmerman & Forlizzi, 2008;Downton, 2003;Frayling, 1993 ...
Design is a distinct discipline with mode of inquiry that different from science and humanities. It is a process with specific purpose with its own methodologies. Therefore, design output became a form of knowledge. In academia, design output is a form of research in various dimensions such as new knowledge that create
transformation, problem solving for humanity, creating new perception and the exhibition of design output is a form of design knowledge distribution. Design research also play another role in transmitting knowledge back and forth between basic knowledge and society especially the research thorough design. The goal of “constructive design research” is to create through design process that results in 3 approaches as follows: 1) Design Practice Provides Methods, put design practice at the center of the research process and come up with new ways of using existing tools and creating new design tools that emphasizing on experiences and engagement; 2) Turn to Technology and Sandbox Culture, emphasizing on the selection of existing technologies and use engineering imagination to create prototype; 3) User Experience as Center of Design Research; emphasizing on emotional experience and empathy which widely use in leading design companies.
... A introdução do Design nas organizações não é um fenômeno recente na história contemporânea, e sua incorporação às práticas das empresas e indústrias se confunde com a própria evolução do debate sobre a natureza técnica e científica dos métodos de Design. Desde o século XX, sobretudo na década de 1960, os acadêmicos constroem uma importante discussão sobre o Design como ciência (CROSS, 2007). As diversas tentativas de demonstrar a natureza científica da atividade de designers culminaram em divergências a partir da década seguinte, nos anos 1970. ...
... Buchanan (1992) considera que esse mesmo dilema da subjetividade no processo de solucionar problemas é transportado à prática profissional dos designers, remontando o conceito de wicked problems para denotar que os problemas da indústria, ao serem absorvidos pelo processo criativo dos designers, se transformavam número 1, volume 10, jan-jun (2022) PUC-Rio Pontifícia Universidade Católica do Rio de Janeiro Departamento de Artes & Design | PPGDesign LEUI | Laboratório de Ergodesign e Usabilidade de Interfaces em novos problemas, não pela mudança de escopo ou de foco, mas pelo encontramento de possibilidades criativas e de questionamentos e subjetividades que ampliavam os horizontes de escolha e, consequentemente, de resultados no produto final de Design. Cross (2007) relata que essa divergência produzida nos anos 1970 não abalou a perspectiva de profissionais e pesquisadores em Design nas décadas seguintes, que deram continuidade ao estudo sobre as práticas e competências e à consolidação de um corpo de conhecimento para teoria e método em Design. Essa evolução se pronunciou com publicações de literaturas e periódicos acadêmicos em Design nos anos 1980, com trabalhos realizados principalmente nos processos industriais. ...
... Ressalta-se que não se examinou como são as estruturas organizacionais e de fluxos das equipes investigadas, e que no desenvolvimento ágil é comum a composição de times pequenos com diferentes especialistas (SCHWABER & SUTHERLAND, 2020). Porém, esse dado aponta para desdobramentos de pesquisa: deveria o designer se situar numa posição externa às equipescom seu próprio processo de projeto, como preconizado na literatura do Design Industrial do século XX (CROSS, 2007;LÖBACH, 2001;MUNARI, 1981)ou deveria o designer estar incorporado ao processo de desenvolvimento do software? De que forma as práticas de projeto de Design e de Desenvolvimento de TI funcionam e dialogam, e quais os limites entre ambas, também são perguntas que se inserem na discussão. ...
São discutidos resultados de investigação sobre competências de Design para atuação em equipes de gestão de Tecnologia da Informação (TI), considerando como população-alvo a rede de cooperação técnica de instituições federais de ensino e de órgãos federais brasileiros que utilizam os sistemas integrados de gestão (SIG) desenvolvidos pela Superintendência de TI da Universidade Federal do Rio Grande do Norte (STI/UFRN). A pesquisa é de natureza descritiva e teve como procedimento a aplicação de questionário respondido por gestores de TI de 18 instituições federais, sobre o papel e a inserção do Design em suas respectivas unidades. Como resultados, verificou-se que a maioria das instituições investigadas não possuem designers inseridos nos processos de gestão de TI e que, embora atuantes há cerca de 10 anos, não há práticas de pesquisas com usuários e stakeholders sobre a experiência destes no uso dos sistemas. Os respondentes indicaram os principais conhecimentos e habilidades que avaliam ser pertinentes à competência de designers em TI, cujas ocorrências se concentraram em atividades operacionais no projeto de interfaces, usabilidade e acessibilidade, bem como no entendimento de que designers devem estar inseridos nos processos de levantamento de requisitos e de implementação.
... Teóricos têm apontado a relevância de observar como os designers atuam em seus processos de projeto, identificando os conhecimentos, habilidades, atitudes e outras competências desses profissionais (DONG, 2010;HORVÁTH, 2006;CHASTAIN e ELLIOTT, 2000). Esses estudos demonstram que designers não possuem uma única forma de resolver um mesmo problema de projeto e que o Design não constitui uma ciência exata, mas uma disciplina integradora de diferentes formas projetuais de conhecimento (CROSS, 2007;DORST, 2003). ...
... Uma delas é traçar uma linha histórica sobre os diferentes papéis que o designer exerceu ao longo da sua trajetória na sociedade (VALTONEN, 2005). Outra possibilidade é realizar inquirições exploratórias e qualitativas que permitam "acessar a mente" dos designers, sobretudo aqueles que se destacam em suas respectivas áreas de atuação, a fim de mapear e catalogar as práticas singulares desses profissionais (CROSS, 2007;DORST, 2003;BKÖRKLUND;KEIPI;MAULA, 2020). ...
... Os esforços para retratar o processo de design de maneira científica não eram por acaso, uma vez que a década de 1960 foi o apogeu do paradigma positivista, caracterizado pela racionalização dos fenômenos e alta valorização de estudos objetivos e pragmáticos. Essa realidade se alterou a partir da década de 1970, em que o humanismo ganhou espaço nas discussões filosóficas entre os acadêmicos e pesquisadores dos métodos (CROSS, 2007). Essa inflexão cultural provocou a mudança de posicionamento dos próprios precursores do Design Methods, como Horst Rittel, que assina com Melvin Webber o ensaio intitulado "Dilemmas in a General Theory of Planning", berço da interpretação do Design para o conceito de wicked problems (RITTEL e WEBBER, 1973) originalmente proposto por Herbert Simon em "The sciences of the artificial" (SIMON, 1969). ...
Neste ensaio teórico é discutida a natureza do problema de Design, originalmente denominado wicked problem e por nós traduzido como problema indomável. É discutido o papel dos problemas indomáveis no pensamento projetual do designer, tanto na contribuição de seu repertório como na sua consciência projetual, e como essa natureza de problema é basilar para o desenvolvimento de competências e aprendizagem do profissional de Design.
... Further disagreements among tutors stemmed from their allegiance to specific design ideologies, reverberating in design schools and shaping the field, including its education, to this day. Importantly, these divisions surfaced during an era (1920s) when design had yet to undergo comprehensive scientific scrutiny, although the inclination towards its scientific examination was already perceptible (Cross, 2007). ...
... For example, within the discourse of 8 disciplining design, different emerging schools of thought within design research advocate for or against formalization. Some argue for disciplining design (Archer, 1979;Cross, 2001Cross, , 2007Cross, , 2018aDi Lucchio, 2021;Kunrath et al., 2020;Poggenpohl, 2009), while others oppose it, preferring an un/in-disciplined approach (Bremner & Rodgers, 2013;Erlhoff, 2016;Gaver, 2016;Krippendorff, 2016;Nelson, 1994). Meanwhile, some view design as an undisciplined discipline (Brandes, 2000). ...
A renewed interest, propelled by the European Bauhaus initiative, has sparked a re-evaluation of design education in response to the growing complexity and interdisciplinary demands of design, encompassing both craftsmanship and academic discipline. While ongoing discussions focus on school types, curriculum development, and pedagogical approaches, there is an oversight in examining the expertise profiles of design educators. These profiles encapsulate the competencies and proficiencies of teaching staff, profoundly influencing the ethos, objectives, philosophy, and substance of education institutions. This paper proposes a theoretical framework delineating three archetypal expertise profiles for design educators: design practitioner, design researcher, and hybrid, nuanced to reflect the multifaceted nature of design expertise. Drawing insights from design history, theory, and professional experience, this framework holds promise in guiding the cultivation of expertise profiles, prioritizing proficiency enhancement, curation, and recognizing the value of hybrid profiles. We aspire to elevate the quality, relevance, and adaptability of design education amidst the evolving landscape of contemporary design.
... Although multiple authors [20][21][22][23] have made significant contributions in recent years, the methodological framework of academic design research remains unclear. The lack of clarity is not solely attributed to the plethora of terminology and conflicting definitions but also due to the ongoing debate regarding the inclusion of design projects within doctoral research and whether they should adhere to the academic standards of more established academic disciplines. ...
... Following the publication of previous academic works, the argument presented here deals with the following question: What is the relative place of the design project and academic research in design, namely in terms of doctoral research? In response to this question, based on earlier research by Frayling, etc. [20][21][22][23], a 4-category design research model was proposed [18,19], as shown in Fig. 1. The model includes the following categories: research ABOUT design, research THROUGH design, research FROM design and research FOR design. ...
Science communication is recognized as an increasingly relevant field within society because it allows for the communication of research results to non-specialized audiences, nurturing scientific literacy among citizens. In this landscape, the field of Design, especially design thinking, has been making valuable contributions by enhancing communication across various academic disciplines, making research findings more accessible to the wider public. The question is whether design can help to communicate academic design research within its own community, reaching out to design educators, students, and practitioners? Our paper explores this question through the description of an example in which two hallmarks of designerly ways of thinking - analogies and visual representation - are applied to communicate a scientific argument arising from academic design research. The selected example revolves around the concept of design research categories. Consequently, a secondary objective of our paper is to investigate the use of analogies and illustrations a means to elucidate the distinctions and subtleties among various categories of research in the field of design. The process itself allowed the authors to reflect not only on the utility of such tools to develop a new way of communication, but also to assist the work of multidisciplinary teams in communicating science.
... The intention of game design is to address its compelling nature through play. Game software design has been increasingly used to engage with players/students, enabling players to develop skills and knowledge to succeed in the digital world [21]. Cross [21] states that design knowledge is deeply rooted in the various processes and people involved during the process. ...
... Game software design has been increasingly used to engage with players/students, enabling players to develop skills and knowledge to succeed in the digital world [21]. Cross [21] states that design knowledge is deeply rooted in the various processes and people involved during the process. The techniques and strategies designers use guide them in their work; the built products are also held in such a way that shows how designed artifacts should be made. ...
This chapter intends to present game designers’ perspectives which elaborates on the ways they approach designing games. While it is diverse, the interpretive analysis of 17 game designers’ perspectives will be able to shed light on how game-designing processes may be influenced by their experience-based and reflective practice, or whether they apply formal methods based on how game-designing fields represent. Furthermore, it discusses whether the formal methods explained by the game designers resonate with existing literature and compare the relevance between the practices and the literature that advocates best practices. The results are discussed through interpretivism paradigm, to provide the essence of game designers’ experiences and approaches. Lastly, it concludes with a list of common practices in their designing processes for games and a future direction towards how we can understand game designers’ perspectives and ease the designing process of games.
... This latter set of inroads has been taken up in several educational framings that have been characterized as do-it-yourself (DIY) Bio [13], BioMaking [14], and Biodesign [15]. While distinct movements, these projects fundamentally share a common thread that prioritizes design science over basic research questions [16,17]. Commonly used biotechnologies can be used to design and produce functional artifacts that are creative, educational, and personally meaningful [18,19]. ...
... Natural Mask) and demonstrative (MYCOmposter) to entirely speculative (ProHuman). The second feature of the BioMaker project that we found to be unique is that they gave youth opportunities to engage with design [16,17] beyond projects that spur creativity [2,11,14] and solve problems [9,15], but also to include exercises that critically problematize [6] the world around them. This was evident in MYCOmposter and Prohuman as teams raised concern about community water supplies and racism to use life science for civic action. ...
Although BioMaking is flourishing as a Constructionist genre of Making that intersects with the biological sciences, not much is known about its utility or impact in K-12 learning. We review a group of high school BioMaker projects submitted to an international design challenge. We use perspectives in cultural relevance to address the following research questions: (1) what do BioMaker projects reviewed reveal about Making in the context of life sciences and everyday life? and (2) in what ways is BioMaking distinct from traditional life science instantiations that emphasize active learning? We discuss BioMaking and its potential to respond to youth priorities and to broaden active learning to include lessons in design principles and social impacts. We conclude by highlighting the potential BioMaking has to broaden life science education priorities to include more critical stances about technology production and society.
... There are other ways of thinking and divergent structures of thought. Design explores and actively creates the "artificial" or "man-made world" (Simon, 1996;Cross, 2007) and has values such as ". . .practicality, ingenuity, empathy, and a concern for 'appropriateness'. . ...
... Also inherent in the design process is a fluidity of thought, focused on the development of new ideas, the generation of new solutions, and the examination of alternative solutions, which could collectively be described as the creativity of the designer (Cross, 2007). This requires a number of traits, one of which the ability for divergent thinking, that is, the capability for generating multiple responses to a given prompt. ...
... 98). Ahora bien, para quien diseña puede resultar alarmante el hecho de tener tantas responsabilidades; sin embargo, es más asustador no considerar tales variables y solamente contribuir a la producción de lucro empresarial y perderse la oportunidad de comprender el Diseño desde la perspectiva de creación de escenarios eficaces de comunicación, uso y habitación.De acuerdo a las transformaciones desencadenadas por el giro etnográfico, y retomando el asunto reseñado anteriormente, el artista visual produce imágenes influenciado por los contextos en donde se dispone hacer investigación, al mismo tiempo que el etnógrafo analiza y produce artefactos visuales para componer sus pesquisas, ello sin caer en la ilustración de su texto, pues recordemos que las imágenes se tornan, también, objeto de estudio.De manera análoga, percibo al diseñador utilizando técnicas de investigación etnográfica para desarrollar sus ejercicios proyectuales y al etnógrafo usando metodologías de diseño; o aún mejor, un abordaje diseñístico para proyectar, producir y exponer sus emprendimientos y resultados.Autores como NigelCross (2007aCross ( , 2007b, JordiPericot (2002), FatinaSaikaly (2005), RivkaOxman (1999), entre otros, han apuntado la diseñística como un modo particular de producir e investigar desde el Diseño. Esta perspectiva incluye contribuciones de las ciencias sociales y de las llamadas ciencias exactas, mezclándose todas en una estrategia que busca establecer un pensamiento ampliado de lo que significa diseñar, del modo como se proponen soluciones desde la disciplina, de las implicaciones del campo en procesos sociales y cognitivos, de los puntos de encuentro con otras disciplinas que dan soporte a su intención transdiciplinar, etc. Dicha noción busca, de igual modo, desmitificar la idea de métodos estandarizados y aplicables a cualquier tipo de proyecto. ...
... Precisamente en la conexión con estos campos descubro brechas para mi trabajo como diseñador. De modo particular lo hago como un sujeto que "poco diseña" objetos pero que piensa sus acciones de modo proyectual, que se interesa por aquello que NigelCross (2007b) sugiere como Fenomenología del Diseño, es decir, por investigar mediante el Diseño.Recuerdo la época en la que estaba realizando mi investigación de maestría, momento en el que uno de los grandes desafíos fue aproximarme de la investigación etnográfica, por exigencia del propio campo de estudio.Percepciones de sujetos que usaban interfaces gráficas de usuario para interactuar en un grupo de encuentros sexuales y afectivos fueron la materia prima para entender la relación entre sujetos, deseos e interfaces gráficas de usuario. A pesar que en algunos seminarios la palabra etnografía había aparecido, sentí la necesidad de leer más sobre dicho asunto y percibí, de ese modo, el escaso registro existente, por lo menos en lo que fue mi búsqueda, de conexiones entre mi área de formación, el Diseño Visual, y este significativo abordaje y postura metodológica de las ciencias sociales.Después de varios años y nuevas lecturas, reconozco el aspecto proyectual de esas búsquedas e inmersiones, pues como asevera Martha Tappan (2012), la cualidad de la investigación proyectual es que, efectivamente genera nuevo conocimiento, no para la comunidad científica (por lo menos en su etapa inicial), pero sí para el sujeto que emprende la acción de conocer algo a través de este proceso. ...
El presente artículo es resultado de procesos reflexión e investigación provenientes de ejercicios en los cuales se piensa la labor etnográfica del diseñador cuando este enfrenta desafíos que van más allá del trabajo corporativo, y en conversación con otros campos del conocimiento, como los estudios de cultura visual y la antropología visual, mediante lo cual explota su potencial social y etnográfico. Como caso de estudio presentamos los principales resultados de una investigación doctoral en la cual se discutió la masculinización de las miradas a partir de los regímenes de visualidades. En este sentido, en las siguientes páginas son tejidas algunas cavilaciones sobre el uso de las imágenes, en tanto artefactos visuales que orientan al diseñador en el conocimiento y reconocimiento de la vida social de las imágenes y de la vida visual de las sociedades, para construir un modo crítico y diseñístico de encarar la realidad.
... Whereas designers develop functional solutions for ill-structured problems (Cross, 2007;Rylander Eklund et al., 2022), artworks emerge in a mode of problem finding and inquiry (Getzels and Csikszentmihalyi, 1976). Representatives of visual art, performance art, poetry, and music explore and shape reality while not only tolerating but even provoking uncertainty and ambiguity. ...
... Designers rely on abductive reasoning and tend to copy proven gambits. Design solutions often unfold in a logical sequence (Cross, 2007;Rylander Eklund et al., 2022). The artistic process, however, defies logic, repeatable patterns, and predetermined order (Lehnerer, 1994). ...
R&D is often, not only, the engine that powers innovation in organisations but it creates and sustains their competitive advantage. The front end of innovation—the ‘R’ of R&D—is expected to provide the initial spark to ignite innovation. Design thinking has become one of the most popular approaches to this crucial but challenging phase in the innovation process. In this letter, we contrast its shortcomings with a novel innovation paradigm that we derive from evidence of artistic practice: art thinking. We frame art thinking as a form of (collective) sensemaking and present its seven distinguishing features. An artistic reframing of R&D equates to a cultural shift. It requires art-based double-loop learning and needs to be championed by innovation management and supported by human resources development. We round out our plea for art thinking with seven imperatives that mark the mind shift and might serve as a call to action for corporate innovators.
... This is true for this work as well, though the aim of generating a contribution to knowledge by means of reflecting upon the design process as well as the recognition of the role of the researcher as a subjective entity influencing the research, positions the work mainly within a constructivist epistemological framework. Cross (2007) describes the emergence of this "epistemology of practice" as the birth point of design as an academic discipline in its own right, separate and complementary to the scientific one, a culture suited for dealing with a different set of problems: Problems where not all the parameters are available, and thus, cannot be addressed in a linear way. ...
... Problems located in areas of "uncertainty, instability, uniqueness, and value conflict" (Cross, 2007). Irwin et al. (2015) also talk about the ability of design to address complex problems that are often beyond the domain of one discipline, problems that are "multifaceted/multi-scalar, are comprised of many stakeholders with conflicting agendas and because their 'parts' are interconnected and inter-dependent, there is no single solution". ...
The devastating effects that unsustainable design practices have on the natural world and other species with whom we share this planet have gained widespread awareness and are the driving force behind attempts to develop more sustainable design approaches. These efforts tend to focus on minimising the negative effects that design has on the natural world by reduced material and energy usage. However, the possibility that design may have an active role in mitigating the erosion of biodiversity has only entered the discussion in recent years and remains a marginal activity for design. Following an ongoing paradigm shift calling for the inclusion of a greater diversity of wild animals within human-dominated habitats (as a way of addressing both the erosion of biodiversity and humankind’s alienation from nature), this research proposes that there is a growing need for a design practice capable of responding to the needs of wild animals, while addressing questions of human-animal interaction. In this thesis, Multispecies Design is proposed and developed as a theoretical framework for supporting the shift to more biodiverse human habitats. The research addresses both the physical and socio-cultural requirements of such a shift. Three distinct views define this emerging design approach: recognising animals as clients of design, recognising human-animal interactions as designed experiences and the view of manmade systems as further extensions of ecological systems. The methodological implications of Multispecies Design have been explored in a case study design project concerned with the ecological enhancement of a coastal outfall pipe on a highly frequented beach in Cornwall, UK. The case study explored ways of designing to address the needs of both people and of wild animal species, as well as the interactions between the two groups. It focused on identifying and developing design approaches and tools for studying and representing wild animals in design projects to facilitate their integration into built environments. These tools were further refined in a series of workshops with design and art students carried out during the PhD research.
The insights from the practical work, together with the theoretical framework developed alongside them, have led to the development of Principles of Multispecies Design and practical and conceptual Tools for Multispecies Design.
... Simon argued that design is "concerned with how things ought to be in order to attain goals and to function" (p.13), which implied an intention of change by conceiving courses of action that could lead to preferred situations. Design5 as an academic field can be traced to the 1960s with the "design methods movement" and in the late 1980s with the development of Design Studies publications (Cross, 2007;Cross, 2019;Kimbell, 2011). The design methods movement concentrated on the study of a design methodology (or process), which can be traced back to the 1962 Conference on Design Methods. ...
Scholarship from the design discipline and policy sciences has produced rich empirical and theoretical knowledge on the intersection of policy and design. However, using concepts that pair “policy” and “design” in various ways, often with different meanings, can confuse practitioners and scholars alike. This confusion is further exacerbated by the sheer variety of online information, including peer-reviewed articles, books, reports, blogs, courses, and the websites of prominent scholars, practitioners, and policy actors. To address this, we analyze “Policy * Design” concepts from a Google Search Engine scraping tool and, in doing so, identify four distinct approaches: “policy design,” “design for policy,” “design in policy,” and “design policy.” The results are presented through issue mapping, and the content of these results is discussed. Finally, we suggest strategies for bridging the gap between “Policy * Design” definitions and then provide a preliminary description of these concepts.
... In investigating our RQ, we followed the design science research paradigm, which was conceptualized to support the structured and empirical development of (local) design theories by defining and evaluating design principles as described and applied by Kuechler, Vaishnavi, Gregor, and Hevner in numerous publications [25,36,105]. After Kuchler and Vaishnavi [105] design science research proposes the five phases: awareness of the problem, suggestion, development, evaluation, and conclusion, as shown in Figure 3 (left), which are applied iteratively. ...
Urbanization has increased societal tensions and led to the growth of citizen participation in urban planning, which is often conducted in computer-supported environments and progressively online to include a high number of citizens. Past projects have shown that digital participation creates new challenges and that collaborative online discussions do not achieve the quality of on-site scenarios, as the interactions, in-depth exchange of opinions, and quality of contributions vary. Within a design science research project, we examine how to support citizens in creating comprehensible contributions on urban participation platforms. We identify issues, formulate meta-requirements, and derive design principles to implement feasible prototypes that we evaluated in focus groups. Our findings extend the existing research about urban participation platforms in civic tech, urban informatics, and planning, with validated design principles that specify AI-based feedback and further features to increase interactions and support citizens in producing more specific contributions.
... Design is generally regarded as a creative endeavour. During the creative design process, designers need to integrate cross disciplinary and multi-disciplinary knowledge in the fields of art, science, technology, economics, etc. to carry out their work (Cross 2007). Today, professional designers are not only engineering majors, but can also be art majors. ...
... Through the Humanitarian Charter, humanitarian action has committed itself to provide disaster-affected communities with essential physical goods and services in emergencies. The goal of dignity implies that the aim of humanitarian action is value based and human centered, as is design science (Cross 2007). This is where design and design thinking become relevant. ...
... The ability to be both analytical and empathic, logical and emotional, methodical and intuitive, guided by plans and limits but spontaneous, is required of the designer in order to integrate these three components [26]. To distinguish this type of dualistic reasoning from logical deductive and inductive reasoning, some scholars in design refer to it as "abductive thinking" [8] [13]. Abductive thinking, then, involves considering possibilities for the future from fresh angles and without regard to preexisting models. ...
... Un ejemplo de ello es Cross (2007), quien sostiene que el enfoque actual se ha concentrado en analizar el proceso de diseño a través de la comprensión de la cognición del diseño, o las formas "diseñadas por el diseñador" de saber y pensar. Trayendo como resultado las distinciones hechas entre diferentes enfoques de investigación de diseño, por ejemplo, el modelo "en, a través y para" presentado por Christopher Frayling en 1993, y el modelo "sobre, para y a través" presentado por Archer (1995). ...
El papel de los prototipos de diseño en la investigación, es clave para la evolución del diseño hacia una disciplina con base académica consolidada; actualmente su desempeño plantea importantes cuestiones que permiten una discusión sobre su legitimación en la producción de conocimiento útil. Entender los distintos tipos de investigación que existen alrededor de la disciplina del diseño, también ayuda a desarrollar una cultura que genere conocimiento orientado a la práctica y aplicación del mismo, en la sociedad y en la ciencia. La investigación a través del diseño implica normalmente la construcción de un prototipo de diseño, que constituye el núcleo del proceso de investigación.
... This results in an emotional relationship being created between the designer and the end user (McDonagh-Philp & Lebbon 2000). Much research has explored the use of DBs as important to the design process (Phillips 2004;Lawson 2006;Cross 2007;Goldschmidt & Rodgers 2013;Haug 2015). Prior research from Dorst & Cross (2001) found that stimulating the DB by providing varying information may spur creative concepts. ...
This study aimed to evaluate the effectiveness of using a social science mixed-methods approach to stimulate creativity and improve the attainment of creative outcomes in teaching design. In a focused study framed through a design collaborative experiment within a classroom context, sketches produced by a sample of 351 students were analyzed and the impact of stimuli was categorized by visual, physical, quantitative and contextual information on creative processes and outcomes in product design. Sixteen combinations of these stimuli were integrated as parameters of design briefs (DBs) given to the participating students. This research was augmented with a survey to understand participants’ perceptions and reactions and was rated by expert judges. The results demonstrate that certain combinations of quantitative and qualitative stimuli have a positive impact on creative processes and outcomes. These findings will inform new techniques for engaging and inspiring students in design studies.
... The model of the design process developed by Purup and Petersen (2020a) as iterative and open-ended is supported by previous studies (Lloyd-Jones andErickson, 2001, cited by Somanath [2022]). However, while Purup and Petersen (2020a) consider criteria in design processes (formal and informal goals which allow evaluation of a design proposal (Cross, 2007)) as an important framing for a design process, they do not treat the processes which lead to definition and redefinition of these criteria as actual design activities. In the interview study, many of the activities described by respondents involve interpreting regulatory requirements, and trying to establish what clients or other stakeholders with decision making power of the design project wanted to achieve. ...
Architectural practitioners can avoid negative social and environmental impacts of new construction by making decisions supported by impact quantification during design processes. However, most software tools developed for such quantification see little use in practice, especially in early design stages when decisions have the greatest influence. To identify ways for software developers to overcome this situation, a thorough literature meta-review of previously performed tool reviews was combined with interviews applying a practice lens. The first key finding is that a possible explanation for the low tool uptake in practice could be a missing practice perspective in previous tool development efforts. In a literature meta-review of publications on life cycle building performance tools identifying previously applied perspectives, most previous tool reviews were found to support tool development and selection, while disregarding how tools can be integrated in existing practices and design processes. As a proposed solution, a framework for defining software requirements using a practice perspective was developed. The second key finding is that a practice perspective could be applied during software development by implementing qualitative methodologies. Nine architectural practitioners in Sweden, Norway and France were interviewed using the interview to the double, a projective technique in which the interviewee is asked to describe their next workday in detail so that their tasks can be assumed by an imagined body double. The design activities described by the respondents were sequenced into user narratives which could serve as starting points for participatory software development processes within the architectural practice. The outcomes - a proposed framework for practice-centric software requirements, and a proposed methodology for collecting these requirements using a practice lens - indicate a research direction toward software development efforts which aligns with design process, architectural practice, and tool user needs. In the next stage of the research this direction will be pursued through application of the developed methodologies in participatory development case studies in early-stage architectural design practice.
... disiplini oluşturma amacına yönelmiştir. Günümüzde ise bu değişimin önceliği, tasarım süreçlerini anlama çabalarına odaklanmıştır (Cross, 2007). ...
Bu kitap, eğitim bilimleri ve öğretmen yetiştirme temel alanına özgü alt disiplin alanları ile ilgili çalışmaları bir araya getirerek, bilim insanlarının güncel araştırmalarını sunmayı amaçlamaktadır. Bu alanın akademisyenleri tarafından gelen yoğun talebi doğrultusunda oluşturduğumuz “Eğitim Bilimleri Araştırmaları” serimiz beş kitap ile tamamladık. Yeni serimize “Eğitimde Güncel Araştırmalar” adını verdik. Kitabımız, özellikle eğitim bilimleri ve öğretmen yetiştirme alanında araştırma yapmak isteyen akademisyenlere ilham kaynağı olmayı hedeflemektedir. Ayrıca, okurlar için faydalı bir kaynak olarak da kullanılabileceğini düşünüyoruz. Kitabın ortaya çıkmasında yazılarıyla katkı sunan yazarlara ve hazırlanmasında emeği geçen herkese teşekkür ederiz.
... Design's capacity is not limited to packaging the world for consumption; it has the potential to generate open and experimental knowledge, enabling processes, artefacts, or systems for social transitions towards more just and sustainable societies. Design as a platform for knowledge production opens up possibilities for activating forms of research in, for and through Design (Cross, 2007), producing answers to problems and questions and speculations that allow for forecasting future scenarios. Recognising the potential of researching and creating by the act of designing is a way of going beyond the dualism between doing and thinking and fostering interdisciplinary dialogues where natural sciences, humanities, spirituality, computing, art, and biology, among others, converge to generate new knowledge, involvement and responsibilities. ...
... 10 Muratovski (2015: 4) indica que la investigación en diseño desarrollada en la academia tiene como objetivo avanzar, cambiar o desafiar el cuerpo normativo del campo del diseño y generar una comprensión más profunda de éste. 11 Algunos ejemplos de cómo se cumplen los objetivos de la investigación son: desarrollar conocimiento aplicable para quienes diseñan (Manzini, 2009); evaluar la aplicación de procesos, métodos y herramientas en la práctica del diseño (Fallman, 2008); desarrollar, articular y dar a conocer el conocimiento acumulado (Cross, 2007), resultado de la investigación en diseño. Una vez que se presentaron las definiciones y objetivos se hace una síntesis de la investigación en diseño en la tabla 1. ...
Este artículo presenta una revisión del concepto de investigación en diseño, donde se sostiene que las actividades de diseño e investigación no son equivalentes y el punto de encuentro es la investigación en diseño. De igual manera, se muestran los objetivos centrales. Desarrollar investigación por especialistas en diseño requiere habilidades particulares, como las relacionadas a conocimientos de metodología. Se retoma la importancia de participar en conversaciones globales relacionadas al tema, esto considerando la exclusión del norte global en los avances de este campo en América Latina. Finalmente se presentan algunas áreas de oportunidad para su desarrollo a partir de la investigación, entre las que se mencionan: sostenibilidad, educación y pensamiento crítico.
... Furthermore, because designers confront problems lacking structure and boundaries (Buchanan, 1992), they become adept at "organizing complexity or finding clarity in chaos" (Kolko, 2010, p. 15). These distinctive approaches to complexity led scholars from architectural backgrounds (Johansson-Sköldberg et al., 2013), such as Lawson (2006) and Cross (2011), to conclude that designers have unique attitudes toward problem-solving (Lawson, 2006;Rowe, 1987) and particular ways of generating insights (Cross, 1982(Cross, , 2007. These attempts to expose the cognitive workings of designers resulted in explanatory models, processes, and representations (Cross, 2011;Lawson, 2006) of their design steps that later evolved into the 'formal method' (Verganti et al., 2021) of design thinking. ...
Design thinking is a human-centered, innovation-focused problem-solving approach that employs various tools and methods for creative purposes. It is a dynamic process and often prioritizes the needs and experiences of people while considering both technical and economic aspects of a solution. The prominence of design thinking in practice has seen its use move beyond product development teams to take a more central role in shaping how organizations approach problems, develop strategies, build capabilities, and drive cultural change. It is common for organizations to employ executives with a specific focus on design, and traditionally “nondesign” organizations increasingly build, buy, or borrow design capabilities. The utility of design thinking stretches beyond organizational outcomes, with educators and employers recognizing that understanding and proficiency in design thinking is a valuable and transferrable skill. A rich scholarly tradition in design sciences and engineering underpins design thinking. These traditions provide the foundational understandings of problem definition and need-finding, information gathering and analysis, and creative expression and ideation, from which design thinking gained prominence. Although not often acknowledged in contemporary scholarship, design thinking research builds on these traditions and offers unique perspectives on the practice of design thinking and its theoretical underpinnings: The cognitive perspective focuses on how unique ways of thinking shape the practice of design thinking; the instrumental perspective attends to how design thinking is done, including the methods or tools used in design thinking; and the organizational-level perspective concerns the implementation of design thinking in organizations and its influence on organizational culture and capabilities. While the various research traditions preceding design thinking are receiving greater attention in contemporary research, rich insights from these established fields offer deep theoretical knowledge to develop several promising research areas. These avenues for future research include how design thinking can inform the redevelopment of services and customer experiences, tackle societal challenges, and build capabilities to benefit communities and society more generally.
... The focus is now on understanding the design process through an understanding of design cognition, or the 'designerly' ways of knowing and thinking. [31] The basic approach beginning in the 1990s to position architecture in a broader field of design disciplines and artistic research -what Christopher Frayling then called 'research in art and design' [32] -has since been honed towards design research in architecture. This has been suggested by Till: ...
From the perspective of the architecture departments in nine German technical universities, this essay argues that the positioning of architecture as a research discipline requires adapted evaluation standards to fulfil its promise of generating new knowledge. Evaluation processes depend on and also influence their funding context, plus they are strongly linked to a categorisation of research practices and topics. The essay argues for widespread recognition of discipline-specific research methods, as well as specific outputs and publication practices. It provides empirical evidence of new European standards for peer-reviewed assessment of architectural research in line with subject-specific approaches. Suggestions are made for opening up excellence funding lines to design-oriented and practice-based research. The essay thus calls to work together to improve evaluation and funding frameworks. Its conclusions support the goal of the Coalition for Advancing Research Assessment (COARA) to maximise the excellence and impact of research by reforming assessment practices.
... En las culturas occidentales, en particular, son escasas las metodologías que equilibren la conexión, la empatía y la espiritualidad con métodos rigurosos que guíen el despliegue sostenible de proyectos. La noción de diseño como "forma de pensar" (del inglés Design Thinking) se remonta a 1969, cuando se identificó el valor de la metodología para un público más amplio (Simon 1969;Cross 2007). En este contexto, las metodologías de Design Thinking (DT) se han ultizado para abordar con éxito problemas complejos que son multifacéticos/multiescalares y están compuestos por muchas partes interesadas con agendas en conflicto. ...
Las metodologías de Design Thinking (DT) han demostrado ser exitosas a la hora de abordar problemas complejos que son multifacéticos/multiescalares, compuestos por muchas partes interesadas con agendas conflictivas. Esto nos llevó a plantear las siguientes preguntas: ¿Cómo pueden las metodologías de diseño apoyar los objetivos de sostenibilidad de forma participativa y des-centralizada? ¿Cómo podemos diseñar metodologías híbridas de conservacion ambiental que honren las relaciones espirituales entre las personas y la tierra?
En las culturas occidentales –en particular–, son escasas las metodologías que equilibren la conexión, la empatía y la espiritualidad con métodos rigurosos que guíen el despliegue sostenible de proyectos medioambientales. El objetivo de esta investigación fue co-diseñar herramientas centradas en la conservación que fueran lo suficientemente adaptables y versátiles como para adaptarse a cualquier proyecto y/o contexto, permitiendo al mismo tiempo su personalización en relación con el lugar y la cultura. Nuestro equipo llevó a cabo una revisión bibliográfica para explorar, comparar, seleccionar, modificar y adaptar metodologías de diseño estratégico, así como nuevas metodologías globales que operaran a nivel de modelos mentales. La segunda fase de este proyecto ha consistido en probar y validar estas herramientas frente a desafios reales de conservación, con la participación de estudiantes universitarios y partes interesadas externas (que representen, entre otros, a los sectores de la ciencia, la industria, los responsables políticos, los pueblos indígenas y los ciudadanos locales que se ven afectados por el problema de conservación seleccionado). Los métodos de validación incluyeron la observación directa de los participantes, grupos de discusión in situ y encuestas cualitativas posteriores al taller. En general, los métodos fueron bien recibidos y arrojaron resultados positivos; sin embargo, fue necesario hacer correcciones para que el conjunto de herramientas acomodaran mejor a las cosmovisiones indígenas. Tras 3 iteraciones consecutivas de ciclo completo, el resultado es un conjunto de herramientas metodológicas que consta de 5 etapas, ofreciendo un enfoque "ágil a profundo" de fácil uso, que incluye 21 herramientas para la innovación sostenible dentro del sector de la conservación medioambiental.
Palabras clave: Design for Conservation, D4C, Conservacion ambiental, Diseno para la sustentabilidad, Diseno participativo, Pensamiento de Sistemas, Diseno regenerativo
... Although there has been little research into the T-shaped design engineer and the development of such skill sets, there has been extensive coverage of expertise in design and the transition from novice to expert, notably by Nigel Cross (2007;2011) and Cross et al. (1994). This research builds on the current understanding of expert and novice design engineers' skill sets and investigates if they can be linked with the T-shaped model. ...
The T-Shaped designer has previously been identified as a design engineer with the desirable set of skills for a successful career. Twelve design engineers ranging from novice to expert, were interviewed to gain an understanding of their skill set, how it has evolved and how it needs to evolve in order to be futureproofed. With the use of qualitative, quantitative data and the development of a novel engineering skills profiling method, this paper found that 75% of design engineers did not exhibit a T-shaped skill profile, but a skill shape that has been termed ‘M-shaped’ or ‘Comb-shaped’. The majority of participants exhibited a great depth of specialist skills in multiple disciplines, not limited to their immediate field of work. All participants exhibited a wide knowledge of skills that allowed them to work across different disciplines, which included electronics, management or manufacturing, and so the wide vertical bar of the T-Shape design predicted by previous literature has been supported.
... Compared to other types of problembased learning, project-based learning poses problems entrenched in realistic, openended, hands-on learning settings [25], and the solution (i.e., the project) is a form of anticipation of the future [29]. In other words, the problem is open-ended and illdefined [30], [31], comparable to real-world design difficulties [32]. The nature of the problem suggests that no single solution exists [31], and the learner is cast as an active participant in developing solutions through actions and reflections [33], as design practitioners would do [34]. ...
Teaching innovation research aims to experiment with new practices and methodologies that relate objectives, activities, tools, and other elements to respond to new educational challenges, such as equipping students with the right skills for increasingly complex and changing work contexts. For higher education institutions, innovation of didactic is an increasingly strategic goal to prepare students for jobs that do not yet exist and to be competitive with emerging players in the educational context. This article outlines a funded research project investigating the perimeter of innovation in design education. The research focuses on the context of the Politecnico di Milano to understand how experimentation in university courses can lead to innovation in design education. The paper presents a survey definition process aiming to map experimentation practices in courses over the past decade and how the results of this mapping can define potential models for codifying and defining teaching practices with innovation potential.
... This is the case with the methodology we will present in this paper, which aims to operate vertically across all three levels and incorporates tools to facilitate this integral, transformative change-making. The Rise of Design Thinking in Non-Design Fields The notion of design as a "way of thinking" can be traced back to 1969, when the value of the methodology for wider audiences was identified (Simon, 1969;Cross, 2007). The use of design methods and models in fields that are not traditionally within the design realm is widely known as design thinking (Baron & Ghelich-Khani, 2021). ...
Our planet is currently facing urgent, systemic, global challenges that require new
collaboration paradigms for radical innovation in the ways we relate to our environment.
As the window of time to address climate change shrinks, it becomes imperative
for distributed, placed-based communities to quickly develop conservation strategies
independently and autonomously, making use of their available resources.
Although the need for local communities to be total participants in developing environmental conservation solutions is well recognized, such solutions are often designed by and with external expertise and resources. This approach broadens the suite of stakeholders beyond the community (e.g., conservation practitioners, scientists, funders) and frequently focuses on narrow outcomes without considering community narratives, resource use, economic needs, and cultural sensitivities, which can result in community disenfranchisement and low levels of engagement. Without community support, these solutions are unsustainable, short-lived, and in most cases, do not fully address local needs.
As design strategists, this led to asking the following question: How can design methodologies support the achievement of sustainability goals by facilitating collaboration, structure, agility, engagement, and innovation within conservation projects?
Our main objective was to co-design conservation-centered tools that are adaptable and versatile enough to fit any project and context while allowing customization concerning place and culture. In the first phase of this research, our team conducted a literature review to explore, compare, select, modify, and adapt strategic design methodologies, as well as new overarching methods that operated in the mindset levels. The second phase of this project has been the testing and validating of these tools against real conservation challenges involving university students and external stakeholders (representing but not limited to the sectors of science, industry, policymakers, Indigenous tribes, and local citizens who are affected by the selected conservation problem). The D4C methodology has been validated through direct observation of the participants and in-site focus groups.
After two consecutive full-cycle iterations, we have published a methodological toolkit
comprising five stages, offering a user-friendly step-by-step “agile-to-deep” approach that includes 21 tools for sustainable innovation within the environmental conservation
sector. These tools foster transdisciplinary collaboration, allowing multiple types of knowledge to be expressed through highly visual, collaborative graphic canvases.
... Sobre esse aspecto, outro estudo de Wrigley com Mosely e Tomischt (2018) adaptou a Design Ladder ao contexto dos resultados de aprendizagem do Design Thinking, em que profissionais são avaliados em nível de compreensão, aplicação, análise, síntese e avaliação. Os autores examinaram a capacidade de estudantes adquirirem competências em DT a partir de cursos online abertos (MOOCs) e apontam que as formações de curto prazo (como é o caso dos referidos cursos online) são menos propensas a capacitar profissionais competentes em Design Thinking, em comparação a cursos de graduação e pós-graduação focados nessa abordagem de Design.Também não é possível afirmar se entre os estudantes houve compreensão quanto ao Design como pensamento projetual e sistêmico tal qual discutido pela literatura(CROSS, 2007; LÖBACH, 2001; BUCHANAN, 1991), uma vez que foi breve o contato e apropriação dos estudantes com a prática do Design e o objetivo da disciplina concentrou-se na Gestão da Inovação, razão pela qual a epistemologia e ontologia do Design não foram tópicos visitados nas discussões.Entretanto, a aproximação entre o pensamento projetual em Design e o pensamento projetual em Gestão de Projetos pareceu ser uma estratégia de ensino interessante para formar administradores públicos nas competências em Design, o que sugere que o ensino do Design para estudantes de administração pode ter como estratégia a aprendizagem baseada em projetos, combinando as duas visões projetuais. ...
... Many design professionals base their judgments on personal preferences, intuition, and past experiences rather than rigorous investigational strategies (Cross, 2012;Lawson, 2006). Even though personal experience is a significant element in the design process, judgments should be made according to an ever-evolving body of knowledge (Dickinson et al., 2012), and that is the role of scientific research as it improves knowledge formation, supports decision-making, and promotes the design processes (Collins, 2014;Fraser, 2013;Huber, 2016). ...
Architecture is a profession in a perpetual state of change. Thus, it is essential for students to have a solid research foundation on which they can apply their knowledge and evidence-based solutions to architectural design, to enhance the quality of the built environment. Despite the fact that students’ views and engagement in research have been receiving great attention recently, no studies have yet been conducted to assess Jordanian students’ perspectives regarding scientific research. This paper examines the attitudes of a Jordanian university’s architecture students toward scientific research. The descriptive study sampled 184 students from the College of Architecture who were asked to fill out a self-administered questionnaire. The data were both descriptively and quantitively analyzed using correlation, a Mann-Whitney U Test, and a Kruskal-Wallis Variance Test. The findings revealed that female students’ outlook on research was more optimistic than that of male students. Moreover, fifth-year students had the least favorable opinions compared to third and fourth-year students. Furthermore, participants who followed architectural channels and broadcasts had more favorable sentiments toward research than those who did not. Finally, participants with previous experience in scientific research had fewer unfavorable opinions regarding research than those who were inexperienced. In conclusion, the majority of the students who participated in this study had positive attitudes toward scientific research. However, there is still a need to promote a culture of scientific research among undergraduate students, encouraging them to engage in scientific activities and providing them with opportunities to conduct research that will contribute to the architectural scene in Jordan.
Traditionally, an ashram is a spiritual hermitage or a monastery in Hinduism. Today the term ashram often denotes a locus of Hindu cultural activity such as yoga, music study or religious instruction, similar to a studio, yeshiva, tikaf or dojo. The research study was a descriptive study to study the home décor, textile of Ashram a Questionnaire was designed to collect the data from various Ashram and the people residing at Ashram aged about 50 years. The population All the Ashram Located at Rishikesh was selected with a Sample size of 50 people based in Rishikesh Ashram. The methodology used was collection of Primary Data/ Secondary Data and the Study Duration was for 10 days. The study gave an insight to the usage of appropriate home décor with sustainable and organic properties for the Ashrams in India.
Organizational and Management Studies, social science Methodology Nowadays, the use of design thinking methodology in organization and management studies is increasing. In Iran within the field of organization and management, there is still a gap between thinking, formulation, and action, and the application of design thinking has been undeveloped conceptually and methodologically. The goal of this study is to explain discourses of design thinking, principles, models, and methods. The methodology of the study is based on a qualitative approach using secondary data content analysis and general qualitative research strategy. According to the study results, design thinking is rooted in two discourses of design and management, although with distinct applications. In this study, human-centered design, a combination of divergent and convergent thinking, co-creation, Iteration, and prototyping were identified as the five principles of design thinking in the field of the organization. In the following, the design thinking models of leading organizations were classified based on phases, stages and activities of design thinking and some of its most common methods were explained. Design thinking models are mainly process-based and can be summarized in four stages of exploration, creation, reflection, and implementation. Finally, research and operational suggestions for the use of design thinking in organizational and management problems with regard to the problem characteristics, level of analysis, and expected outputs are presented. These are unlimited to management science and will be used in other social sciences.
Les matériaux, en plus de leurs caractéristiques physiques, culturelles et politiques, servent de médiums dans lesquels les univers subjectifs des designers peuvent s’incarner. Cette hypothèse s’appuie sur la théorie de l’agir créatif de Winnicott, qui souligne comment notre rapport au monde est à la fois tangible et imaginaire, ce qui nous permet de reconfigurer les éléments matériels de nos environnements. Dans la continuité des travaux de Winnicott, les psychanalystes Marion Milner et Denis Roussillon ont approfondi le questionnement sur les propriétés des médiums qui peuvent soutenir cette activité créative de projection subjective. Ils avancent le concept de « médiums malléables » et proposent cinq propriétés qui, d’après eux, caractérisent ces médiums capables de soutenir une activité créative : l’indestructibilité, l’extrême sensibilité, l’indéfinie transformation, l’inconditionnelle disponibilité et enfin, l’animation propre. Leurs travaux éclairent les rapports aux matériaux dans l’activité créative et permettent de mieux comprendre la dynamique des médiums comme milieux et matrices de formation accueillant des projections du monde intérieur des designers.
This systematic literature review explores the intersection of knowledge-building principles and design-thinking methodologies in the context of education. Design thinking, a cognitive approach to problem-solving, often encounters challenges in generating innovative ideas during its implementation in educational settings. This review examines how integrating knowledge-building principles into design thinking can address these challenges. Knowledge-building, centred on collaborative knowledge enhancement and community responsibility, offers a framework that aligns well with the iterative, creative and collaborative aspects of design thinking. The review analyses studies that discuss obstacles in idea generation, compares knowledge-building and design-thinking methodologies and explores the potential of knowledge-building to enhance design-thinking outcomes. The findings suggest that intertwining knowledge-building principles with design-thinking practices can empower students to develop and refine ideas more effectively. The review contributes to modern pedagogy by offering insights into leveraging knowledge-building principles to enrich the design-thinking process and facilitate more productive ideation. It provides a comprehensive understanding of how these two approaches can be combined to enhance students’ problem-solving and creative-thinking abilities.
The architectural disciplines are called for a strong and inspiring position towards current societal challenges in Europe. In public and political debates, their role for the ecological reconfiguring of the whole building sector, for the transition of cities to climate-neutrality and resilience, but also for social inclusion, accessibility, and affordability is increasingly acclaimed. And, in particular by the initiative New European Bauhaus, the holistic approach of architecture is seen as an asset, not least for a cultural and behavioural change to sustainability that stresses the value of everyday living spaces and new aesthetics. Recent discussion strongly points to the research dimension of architecture both in academia and in professional practice, and its interaction with other disciplines and society. The authors of this contribution are currently launching an initiative of the German TU9 architecture faculties to establish together discipline-specific standards for research evaluation. Starting from a research project on the German and European context in this regard, this article advocates for a joint effort to position research in architecture. It reviews debates and initiatives in order to identify decisive factors in funding and evaluation, research practice, interactions with practice, education, and society, and the qualification of methods and research outputs.
Numerous recommendations for how to proceed with design and development have been proposed over the years. Some provide project and process structures, while others are formulated as methods to support specific process steps or describe mindsets that are recommended as essential when addressing complex problems through design. This chapter provides a structured overview of recommended mindsets, methods and processes for design and development. The chapter considers approaches for design as a general approach for addressing problems across application domains, alongside approaches that are focused more specifically on engineering design and those that address the design and development of complex systems. Overall, this chapter conveys some of the main schools of thought regarding how design and development should be done and clarifies some of the relationships between the approaches presented.
This paper describes the development of ergonomic clothing suitable for the body characteristics of the care-dependent elderly women at four institutions: two located in the city of Guimaraes (Portugal) and two in the city of Teresina (Brazil). The prototypes were developed based on the needs of the elderly according to some functional factors as well as their physical conditions, aiming an easier handling by the caregiver and comfort for the user. The functional properties of the applied materials and accessories, the pattern design process, and the garment construction are described.
This paper presents an eight-day design studio that teaches heuristic evaluation of games to third-year bachelor students at the School of Design, Southern University of Science and Technology. Through this course, students gain the first-hand experiences of developing heuristics for games through online survey and using them in idea generation and game evaluation. 13 students (working in groups of two or individually) developed 88 heuristics for 8 game genres by analyzing 349 quotes of game reviews collected from online. The heuristics were further developed into questionnaires and tested with invited 51 game players, followed up by post-interviews. The heuristics were also used as inspirational tools to help the students generate design ideas in an ideation exercise. Results of the students’ work indicate usefulness of the heuristics as evaluative and inspirational tools. In the discussion, we reflected on the challenges encountered by the students over the course and how dealing with these challenges could reveal further directions of teaching research methods in HCI studios.KeywordsDesign EducationStudioDesign Research MethodologyDesign Evaluation
Participatory Design (PD) originated in Scandinavia in the 1970s. Then it shaped the approaches of striving for power balance in the decision-making process within the Human-Computer Interaction (HCI) design field for decades. Mutual learning played an essential role in PD to fulfill democratic equality during the design process. The multi-disciplinary communication was a nature of PD to achieve the ideal equality. Nowadays, solving complex human issues needs collaboration across different fields. Design Thinking (DT) has become popular in the problem-solving process. This paper describes our PD workshop experience, which integrated DT methods and tools as mutual learning approaches. We conducted three PD workshops and invited the workers from the dementia daycare center as the end-user and information engineers and industrial designers in a multi-disciplinary team to ideate solutions for the problems from senior daycare workers’ daily experience with natural language processing (NLP) technology. We conclude the discourse between daycare workers, engineers, and designers. The results are positive in applying DT methods and tools to PD. Finally, we discuss how to improve for better genuine participation through the DT approach.KeywordsParticipatory DesignMutual LearningDesign Thinking
Las investigaciones que relacionan al diseño con el branding se han enfocado en la identidad o laimagen, lo cual ha generado espacios de discusión específicos; por esta razón, se hace necesario profundizar de forma más amplia y articulada sobre los vínculos existentes entre estas dos áreas, en el ámbito empresarial. El objetivo de este artículo es analizar el papel del diseño en el branding de empresas medianas y grandes de la ciudad de Manizales (Colombia). Se aborda el diseño como disciplina que se conecta con la construcción de marca corporativa, a través de diferentes actividades inherentes a la comunicación de las empresas. El método está basado en la realización de entrevistassemiestructuradas a nueve profesionales vinculados con las empresas objeto de estudio y a tres expertosdel área del branding. Los resultados y conclusiones, que se extrajeron de esta investigación, permitieron evidenciar la influencia del diseño en las diferentes acciones enfocadas en el branding de las empresas objeto de estudio. La estrategia, la gestión de la comunicación, la estructuración de sistemas identitarios y los procesos de investigación e innovación son algunos de los campos en los cuales hay conexión con el diseño, por lo cual, se concluye que esta área de conocimiento de carácter interdisciplinar está presente de forma transversal en la proyección empresarial.
Sustainable development of tourist destinations is based on the key principles of sustainable development in general taking into consideration the characteristics of tourism as an activity, in particular. In the event that a tourist destination has an island location, this becomes an additional factor imposing even more stringent requirements for sustainable development due to even greater vulnerability of isolated ecological systems. At the same time, the human factor becomes decisive, because the development of a tourist destination depends on how the providers of tourism services comply with the principles of sustainable development. The purpose of our study is to identify the willingness to follow the principles of sustainable development of a tourist destinations among entrepreneurs providing tourism services, using innovative methods of problem-solving learning. During the study, the following methods were used: bibliographic, analytical, in-depth survey method, etc. The methodology implemented for this study was qualitative survey where students reflected on their learning processes. The results show the importance of university students cooperating with actors within tourist destination on both theoretical and practical issues of sustainability to develop the destination. This cooperation enables the most important learning outcomes for both parties on sustainability. Heterogeneity of the group, and methodology of Design Thinking increases the creativity in problem solving.
Architecture and buildings are in the focus when we discuss how to reach climate neutrality, how to transform cities and territories, how to achieve inclusion. Here, links between circularity, design, and city-making emerge as one of the most promising fields of innovation. This outline shows that a Circular Design paradigm needs to start from an urbanistic perspective and why Circular Design can make cities more liveable.
Based on poetic observation and sensory ethnography, this article presents in detail the path adopted, the instruments and procedures used for data collection and analysis in a fertile and layered process susceptible to diverse readings. As with other ethnographic studies, it was also possible to access a wide variety of information, describing it in as much detail as possible to draw conclusions supporting the construction of Oporto’s Poetic Archive.This research reflects on the ways of doing this Archive as a place to preserve images of the city’s graphic heritage, whose purpose is to inspire the creation of new narratives.KeywordsPoetic archiveGraphic heritageOporto
Engineering design must be carefully planned and systematically executed. In particular, engineering design methods must integrate the many different aspects of designing and the priorities of the end-user. Engineering Design (3rd edition) describes a systematic approach to engineering design. The authors argue that such an approach, applied flexibly and adapted to a particular task, is essential for successful product development. The design process is first broken down into phases and then into distinct steps, each with its own working methods. The third edition of this internationally-recognised text is enhanced with new perspectives and the latest thinking. These include extended treatment of product planning; new sections on organisation structures, simultaneous engineering, leadership and team behaviour; and updated chapters on quality methods and estimating costs. New examples have been added and existing ones extended, with additions on design to minimise wear, design for recycling, mechanical connections, mechatronics, and adaptronics. Engineering Design (3rd edition) is translated and edited from the sixth German edition by Ken Wallace, Professor of Engineering Design at the University of Cambridge, and Luciënne Blessing, Professor of Engineering Design and Methodology at the Technical University of Berlin. Topics covered include: Fundamentals; product planning and product development; task clarification and conceptual design; embodiment design rules, principles and guidelines; mechanical connections, mechatronics and adaptronics; size ranges and modular products; quality methods; and cost estimation methods. The book provides a comprehensive guide to successful product development for practising designers, students, and design educators. Fundamentals are emphasised throughout and short-term trends avoided; so the approach described provides a sound basis for design courses that help students move quickly and effectively into design practice. Engineering Design is widely acknowledged to be the most complete available treatise on systematic design methods. In it, each step of the engineering design process and associated best practices are documented. The book has particularly strong sections on design from the functional perspective and on the phase of the process between conceptual and detail design in which most key design decisions are made. The 3rd edition includes new material on project planning and scheduling. Anyone committed to understanding the design process should be familiar with the contents of this book. Warren Seering, Weber-Shaughness Professor of Mechanical Engineering, Massachusetts Institute of Technology.
This is a case study of the working methods of one particularly successful designer in a highly competitive design domain, Formula One racing car design. Gordon Murray was chief designer for the very successful Brabham and McLaren racing car teams in the 1970s and 1980s. His record of success is characterized by innovative breakthroughs, often arising as sudden illuminations, based on considering the task from first principles and from a systemic viewpoint. His working methods are highly personal, and include intensive use of drawings. Personality factors and team management abilities also appear to be relevant. There are some evident similarities with some other successful, innovative designers.
The basis of design and the nature of those activities which may reasonably be termed design are explored. Based in part on this exploration, two observations regarding the interaction of science with design are made. These observations appear to be generalizable.
Some of the preliminary work in a research project in design epistemology, conducted at the UK Open University, is summarized. The work draws upon the already extensive epistemology of science, to provide both a yardstick of comparison for, and a framework within which, to articulate the emergent epistemology of design. The paper argues that science, far from inductively deriving theories from passively contemplated facts, actively engages in the explicit interpretation of ‘facts’ which have themselves already been prestructured by the theories that implicitly mediate perception itself. This leads to a reconception of perception and science as implicit and explicit (respectively) modes of interpretation by which we attempt to structure, or render simply coherent—and consequently predictable—the otherwise incoherent ‘flux’ of undifferentiated experience. It is therefore argued that science and perception may be thought of as attempting to resolve apparent incoherences or conflicts in experiences; as attempting to design a coherent and predictable ‘life-world’ from such experiences. Building on this insight, it is suggested that science and perception may be regarded as particular cases of design.
Current developments of a scientific approach to design are outlined. It is shown than in order to establish a scientific theory of design, the following aspects need to be studied and covered: the designer, the activity, the object, the context in which engineering design takes place, and the context of use of the resulting technical system. The current state of such theory is presented, together with discussions of related literature. Design science is brought into connection with necessary development of computer aids.
In this study the two main paradigms for looking at the design activity are compared in terms of their ability to describe the industrtial design process. Special interest is paid to how close these descriptions are to capturing the design activity as experienced by the designers themselves.
This is the third paper in a series being published in Design Studies, which aims to establish the theoretical bases for treating design as a coherent discipline of study. The first contribution in the series was from Bruce Archer, in the very first issue of Design Studies, and the second was from Gerald Nadler, in Vol 1, No 5. Further contributions are invited.Here, Higel Cross takes up the arguments for a ‘third area’ of education—design—that were outlined by Archer. He further defines this area by contrasting it with the other two—sciences and humanities—and goes on to consider the criteria which design must satisfy to be acceptable as a part of general education. Such an acceptance must imply a reorientation from the instrumental aims of conventional design education, towards intrinsic values. These values derive from the ‘designerly ways of knowing’. Because of a common concern with these fundamental ‘ways of knowing’, both design research and design education are contributing to the development of design as a discipline.
The search for scientific bases for confronting problems of social policy is bound to fail, becuase of the nature of these problems. They are wicked problems, whereas science has developed to deal with tame problems. Policy problems cannot be definitively described. Moreover, in a pluralistic society there is nothing like the undisputable public good; there is no objective definition of equity; policies that respond to social problems cannot be meaningfully correct or false; and it makes no sense to talk about optimal solutions to social problems unless severe qualifications are imposed first. Even worse, there are no solutions in the sense of definitive and objective answers.
The ability to design is widespread amongst all people, but some people appear to be better designers than others. This paper addresses what we know about this `natural intelligence' of design ability, and the nature of design activity. Quotations and comments from some acknowledged expert designers are used to reinforce general findings about the nature of design activity that have come from recent design research. The role of sketching in design is used to exemplify some of the complexity of designing. In conclusion, comments are made about the value and relevance of research into artificial intelligence (AI) in design. It is suggested that one aim of research in AI in design should be to help inform understanding of the natural intelligence of design ability.
A recurring theme in recent design theory has been a desire to relate design method to scientific method: to create the ‘science of design’ or a ‘design science’. There is an inherent paradox in such a desire since design and science are clearly very dissimilar kinds of activities. Further, the concept of ‘scientific method’ now seems to be in epistemological chaos. For these reasons, attempts to model design method on scientific method seem misplaced. It is proposed that it would be more fruitful to regard design as a technology, rather than as a science. The paper seeks to establish the basis for such a view, drawing especially on the idea that both design and technology involve the application of types of knowledge other than the purely ‘scientific’ kind.
This paper is based on a case study of the working methods of a highly successful product designer, Kenneth Grange. Relevant aspects of his personal background are introduced. Three of his well-known projects are selected for analysis: a camera for Kodak, a sewing machine for Maruzen, and the British Rail High Speed Train. His designs are characterised by a concern with designing for purpose, so as to achieve pleasure for the user. General lessons are drawn from the examples, and comparisons are made with other studies of highly successful designers. Similarities with these others include a tendency to develop a systems view of the problem; defining or framing the problem to be solved in a fresh, challenging way; and developing details from basic principles of function, engineering and manufacture.
Three case studies of creative design in engineering and product design are reported. The studies are of exceptional designers and comprise two retrospective interview studies and one protocol study. In each case, an example of the designer’s approach to a particular design problem is presented. Comparisons between the three examples are drawn, and there appear to be some striking similarities, despite the very different project examples. A general descriptive model of creative cognition in design is developed from these commonalities.
Contributions to Design Science: Praxeological Perspective
- W Gasparski
- A Strzalecki
A View of the Nature of Design Research
- B Archer
Towards a Collective Construction
- T Van Doesberg
How my Thoughts about Design Methods Have Changed during the Years
- Jc Jones