DESIGN THINKING PEMIKIRAN DESAIN
TO DESIGN IS TO INNOVATE
POST WAR OPTIMISM & THE RISE OF DESIGN
“Life is healthier and happier in the 1950-ies, with science and technology”
• World Design Conference, Tokyo (1960) • Conference on Design Methods, London (1962)
5O YEARS LEARNING HOW TO DESIGN
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THE SCIENCE OF DESIGN
THE DESIGNERLY WAYS
Externalizing & objectifying the design process
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Systemic approach towards design
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Phenomenological approach to designers’ behavior reflection-in-action being the core of ‘professional artistry’
THE DESIGN THINKING •
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Human-centered design by useroriented and multi disciplinary collaborations. Everyone is a designer
COMPUTATIONAL DESIGN •
Extensiveli involving computers in Design
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Parametric, Generative and Algorithmic Design
ARCHITECTURE IS TO IMPROVE LIFE ANNA HERINGER
VALUES IN DESIGN
VALUES: SURVIVAL (TO PROTECT)
Architecture support human survival by protecting its occupants in various ways, such as: • • • •
Protecting from the elements Protecting from harmful environment Protecting from the building itself Protecting from accidents
VALUES: GOOD LIFE (TO NURTURE)
Buildings should enable users to accomplish their purposes and tasks without great effort.
They should provide comfort of the users in all of their sensory modalities: visual, aural, olfactory, tactile, and kinesthetic. Building and its environment should also promote good social life.
VALUES: ARTS (TO TRANSFORM)
As an art, architecture has the opportunity to transform users, to help them see beyond their immediate needs for protection and nurturing. Architecture should enrich the meaning of the users' lives and move them in some special ways. The program should identify the aesthetic values of society, client, and user to encourage the designer to express them in the architecture.
KEYWORDS IN DESIGN AS A PROBLEM SOLVING ACTIVITY
CONFLICT & RECONCILIATION
If design is a problem solving activity, then, problem is best represented as a system of conflicts to overcome in order to realize the values of design. Some conflicts have clear variables, some have obscure and unstable variables. To solve a problems, a designer reconcile of those conflict[s] to arrive and to measure the ability of the design to solve the problem.
CREATIVITY LEAP & METHODS
A designer thoroughly studies the conflict based on its related variables. Some aspects of the studies are clear, especially those with measurable variables, but many are quite unclear. Based on her or his previous experience, references, culture and others, the designer employs clear or unclear methods, often involves many creativity leaps.
NOVELTY & ORIGINALITY
As design is an improvement and innovation, a qualified solution should bring some novelty [new-ness] and originality [authentic-ness]. These may include new forms and technology but also to revive and revitalize valuable old forms and technology.
PROBLEMS IN DESIGN
CLARITY OF THE PROBLEM
Problems related with technical and physical requirements are usually quite clear and can be defined properly. Those related with culture and personal feeling or constantly changing preferences are not easy to define.
VARIABLES
CRITERIA & PARAMETERS
WELL-DEFINED PROBLEMS
clear
clear
ILL-DEFINED PROBLEM
clear
unclear
unclear
unclear
WICKEDPROBLEM
WICKED PROBLEM
Horst Rittel considers that architectural problems are mostly Wicked Problems and characterized as: 1) 2) 3) 4) 5)
There is no definitive formulation of a wicked problem. Wicked problems have no stopping rule. Solutions to wicked problems are not true-or-false, but better or worse. There is no immediate and no ultimate test of a solution to a wicked problem. Wicked problems do not have a set of potential solutions, nor is there a well-described set of permissible operations that may be incorporated into the plan. 6) Every wicked problem is essentially unique. 7) Every wicked problem can be considered to be a symptom of another problem.
CONSTRAINT AS PROBLEM
FLEXIBLE
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The radical constraints deal with the primary purpose of the object or system being designed. The practical constraints deal with the reality of producing, making or building the design; the technological problem The formal constraints are those to do with the visual organization of the object. The symbolic constraints are concerned with the expression of ideas
FIRM
POSITION OF THE PROBLEM
Before the whole problem is defined, solutions can only be partial and premature. (Willian Pena, 1976/2001)
‘Many studies of expert design behavior suggest that designers move rapidly to early solution conjectures, and use these conjectures as a way of exploring and defining problem-and-solution together’. (Cross 2004: 432).
FRAMEWORKS IN DESIGN
FRAMEWORKS IN DESIGN Perancangan Arsitektur melibatkan suatu proses yang kompleks, sangat beragam, kadang tak terduga, dan kadang juga memiliki sisi-sisi misteriusnya.
Untuk memberikan gambaran tipologis tentang keragaman dan kompleksitas tersebut, Plowrigt mengajukan istilah “framework” (“alur” atau “kerangka”)
framework Suatu “Framework” adalah struktur dasar yang melandasi system yang lebih kompleks, yang berperan untuk memandu pengembangan metode yang lebih spesifik.
PATTERN-BASED FRAMEWORKS
Pattern-based Framework assumes that there are many well established sets of solutions available before the design begin, which may universally accummulated, conceived within one culture, or develop throughout history. These sets may be developed based on geometry, style, structure, type, behavior etc.
FORCE-BASED FRAMEWORKS
Forces and constraints in every particular design are formulated into design problems to solve. These forces may be related with efficiency of resources, availability of materials, programmatic constraints, building performance requirements, site considerations etc.
CONCEPT-BASED FRAMEWORKS
Concept-based frameworks are triggered by big ideas [from within the field of architecture or not] to organize the design process binds together the functional and architectural aspects, and it can be • a verbal formulation, • a simple model, • a chart or a sketch.”
PROGRAMMING IN DESIGN
PROGRAMMING IN DESIGN
Programming processes data into meaningful input for design. It starts before the design process with various integration into design
P P
D D
P P+D
D
BASES FOR PROGRAMMING
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KNOWLEDGE-BASED PROGRAMMING employing the advancement of research, especially on behavioral sciences
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AGREEMENT-BASED PROGRAMMING relies on the knowledge of several key in-dividuals in the client's organization to generate the required programming infor-mation.
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VALUE-BASED PROGRAMMING incorporates an intensive search for the essential purposes for which human institutions exist and are perpetuated.
PROGRAMMING AS PROBLEM SEEKING STEPS
GOALS
CONSIDERATIONS
FACTS
CONCEPTS
NEEDS
PROBLEMS
If programming is problem seeking, then design is problem solving. Problem statement is a description of the critical conditions and design premises that become the starting point for schematic design.
PROGRAMMING CONSIDERATIONS
School of Alfa Omega Realrich Architecture Workshop Tangerang, 2017
FUNCTION • Sekolah Alam (close to nature) • Invoking outdoor learning experience
FORM • Swampy and unstable ground • Expressive use of bamboo as local material
TIME • Limited time for construction ECONOMY • Tight budget
DESIGN THINKING
DESIGN THINKING LOOP
DESIGN THINKING STAGES EMPHATIZE
DEFINE
IDEATIZE
PROTOTYPE
TEST
Understand the needs and expectations of the prospective users
Define the problems to solve in the design process
Exploring knowledge and creativity to formulate solution
Mock up room
Empirical Approach
Scaled 3-D model
Rational Approach
Visual/graphic model
Authoritative Approach
Virtual reality