A jo u r n al with th e bigge st au th ors & pion e e rs
1962 - 2015
DESIGN METHODOLOGY
“ method o lg y s h o u l n o t be a f ixe d t r a c k t o a f ixe d de s t in a t io n but a c o n ve r s t io n a bo u t e ve r yt h in g that c o u ld be ma de o f h a ppe n - J . C. J o nes
”
1 / 1973
NOTES ON THE SYNTHESIS OF FORM By Christopher Alexander
Author´s main interest in this book is a creation of so called diagrams or patterns that are an abstract representation “of physical relationships which resolves a small system of interacting forces”. The process of design is a process of inventing physical things which display a new physical order, form in response to function. The functional problems are becoming more complicated and a single individual – designer cannot stand against the vastness of complexity of these problems. An intuitive resolution of contemporary problems simply lies beyond single individual´s grasp. In other areas it has been shown that there are a bound of cognitive and creative capacity. The author tries to describe a way of representing design problems which does make them easier to solve. According to him it is a way of reducing the gap between designer’s small capacity and the great size of the task.
2A / 1965 Systematic Method for designers By L. Bruce Archer
A designer works with analytical thinking and contrasting skills that is way models have been developed for designers to avoid errors in the design process. These models can be defined as following a precision model involving a creative step with many factors such as marketing, function, problem finding/solving and pricing including research finally defining the appearance of the end product. Designers must have in consideration that things can change in the world like human values, fashion and public taste. To get innovative ideas, designers brain storm about a problem and allow their fantasies go, and by sharing and talking about it with other member of the group, they will find the right solution.
2B / 1979
Whatever Became of Design Methodology? By L. Bruce Archer
L. Bruce Archer describes the noticeable difference between “Designerly way of thing “ and “scientific and scholarly way of thinking”. Archers approach to using methods as designer is that methods are very useful and helpful in the design process, but there is difference between methods found in his period which some of the methods where too tradition, some of them too scientific and scholarly and some of them helpful. There is two types of models described, one is the mathematical model, which is used to describe the flexibility, interactiveness and value-laden structure of the design process. This model is described as a mathematical and scientific answer to the creative design process. The other one is the model named: “check-list of the design process” published in Design magazine in 1963-4 under the title Systematic Method for Designers. This model is focusing on how a designer can work better and gives some tools that makes both a structure for the design process but it is also giving a picture od how a designer is working in a more realistic way.
3 / 1993 ’Ethnographic field method’ By Blomberg
Author talks about how the link between ethnography and design methods has the potential of providing designers with new ways of gaining a deeper understanding of user’s work practices and also providing context for designers to collaborate with the user. Ethnography is a descriptive understanding of human activities and helps designing new technologies. Even if the ethnographer attempts to represent experiences from the natives’ point of view, the studied rarely has an active participation in reviewing and analyzing the ethnographer’s formulations. The reason why ethnography is relevant to design is for the consideration it has of the user’s context and for providing designers with a better understanding of the user’s work, so that the user receives a better envision and experience of the technology applied to his context, and for supporting the integration of the single’s task with the one of many others.
4 / 1992
‘’Wicked Problems in Design Thinking’’ Richard Buchanan
Author introduces us to the history of Methodology and Design Thinking, and how it has been used in design process since the 1960’s and onward. Some of the challenges Richard Buchanan points out is: • To be innovative and challenge wicked problems designers need to rethink their way of approaching their process and methods. • The changing role of the designer, when expanding into new fields of knowledge and starting to touch subjects that involves science as well as design. • Scientists are specialized in subject matters, where designers tent to touch different fields of design and science.
5 / 1995 “Discovering Design Ability� By Nigel Cross
Design ability has distinctive features: Design ability can be articulated: Design ability is possessed by everyone: Design ability can be damaged or lost: Design ability is a form of intelligence: *Key Insight: Design ability can be viewed as its own form of intelligence
MADISON SCHEPER + DINA HAABENDAL PETERSEN
DESIGN = UNIQUE FORM ABILITY OF INTELLIGENCE
DESIGN ABILITY OTHER INTELLIGENCE
DESIGNER
6 / 1998
Making the world a part of cognition. By Gedenryd
This paper is about “Situating strategies”, enquiring materials for the future situation of use. The author has an software developer and talks about materializing ideas through sketches and prototypes and the importance of it. He describes a value via materializing your idea, which has been undermined in the past. In the first chapter he speaks about thumbnails and roughs. Thumbnails is the quick sketches where there is not a lot of details but is the most essential to the idea. The several sketches are done on paper quickly. It’s called “lo-fi” and horizontal relevance. He states that this is the most important in the prototyping. Even though it is underestimated it is important visualize the idea and it’s the best way to get response from a user, client or colleagues. Simple visualization gets a clearer feedback and important clarity of the essence of the idea compared to roughs.
Situating strategies the future situation of design use
“Inquiring materials: working materials with a cognitive purpose” “They serve to make the world a part of cognition.” (p. 157)
Thumbnails Quick sketches
• • • • • • • • •
“lo-fi“ small many quickly manual drawing horizontal relevance-simple important clarity fokus on the design in the beging of a process
Roughs Technical and details
• • • • • • • • •
“hi-fi” bigger fewer slow computer digitally/manual drawing vertical relevance- detailed 95% of the focus is technical and 5% to the design later in the middle of a process
Prototypes Mock-ups
• • • • • • • •
physical test 3D in physical form vertical relevance. later in the end of a process 95% design to 5% technical “The quality of the prototype is not the important factor” unfinished
“These design techniques use the same strategy to enable the designer to get at the future situation of use. The focus is not on the finished look or the final outcome.”
7 / 1970
Design Methods / chapter number 5 The design process desintegrated. by John Christopher Jones,
Design process is not something that can be explained clearly from A to Z, there is no secret recipe three essential stages: analysis, synthesis, and evaluation =Â divergence, transformation and convergence. as a designer you have to be able to be open to new information and new possible solutions. design methods are about making the design thinking of a designer transparent towards the public
8 / 1980 ‘How Designers Think’ by Bryan Lawson
How Designers Think’ (1980) by Bryan Lawson, chapter no. 3 Route maps of the design process and chapter no. 4 The components of design problems. Writers on design methodology probably don’t make the bestdesigners, the best designers are doing what they do best, design. The concept of design is not easily defined and design process is difficult to simplify into maps, Scientists have a problem-focused strategy meanwhile architects have a solution-focused strategy.
9 / 2001
Creativity in the design process: co-evolution of problem-solution. by Kees Dorst & Nigel Cross, Design Studies 22
A key element in the design process is defining and framing, this tend to lead to an increase in creativity for solving the problem. Creative design seems to be a matter of co-evolution of the problem and solution spaces with interchanging information between the two. This is shown in Maher’s model regarding co-evolution. The designers goal is to create a matching pair of problem and solution. Defining and framing seem to be a crucial ability to highperformance in creative design
THE COEVOLUTION OF PROBLEMS AND SOLUTIONS P3 P2 P1 P# Problems
A CRUCIAL ABILITY OF THE CREATIVE DESIGNER IS TO BE ABLE TO FRAME AND DEFINE PROBLEMS AND SOLUTIONS.
S# Solutions
CREATING CONNECTION BETWEEN PROBLEM AND SOLUTION AND REFRAME THEM IF NECESSARY. THIS LEADS TO A CONTINOUS COEVOLUTION OF PROBLEM AND SOLUTION SPACES IN THE DESIGN PROCESS.
Process S1 S2 S3
AMIR REZA & MARTIN DALSTRUP
10 / 1988
“The science of design: Creating the artificial� By Herbert A.Simon
Author tries to explain that design is a part of every action which aims to change existing situation into preferred one. That means that all of the professions of both humanities (liberal studies) and science are centrally concerned with the process of design. Even though the design is a core of professional training within various fields, it is not taught at universities as it does not consist of solid-state physics that is seen in all fields of natural science. All who use computers in complex ways are using computers to design. This common ground made way for communication among intellectual disciplines and brought new worlds of knowledge into life.
11 / 2013 DESIGN THINKING By Don Norman
Never solve the problem I am asked to solve�. Don Norman’s, frist rule to understand Design Thinking. When we are making a product we should always ask; Why? To do this Norman made a methode called Human-Centered Design. It is to make the result fit human desires, needs and capabilities. Design is bringing together technology and people, business and politics, culture and commerce. Designers must always keep foremost in mind that the products are to be used by people
12 / 1973 DESIGN FOR THE REAL WORLD BY VICTOR PAPANEK
A lot of author’s particular attention in the paper is about describing different blocks that are preventing our ability to create. He gives examples of 4 types of blocks: perceptual, cultural, associational and emotional. The blocks come from competition of conformity and creativity. In order to inhibit these blocks, a save environment should be created where everyone is allowed to think and design openly to return to focus on the content than on the form of design.
13 / 2005
”Bringing clarity to the “fuzzy front end” By Darrel Rhea
Darrel Rhea analyses how does innovation work from a design research and business perspective,and compares two opposite ways of innovating in the corporate business: “inside-out” and “outside-in” innovation. Author breaks the innovation process in divergent thinking and convergent thinking. Deriving inspiration from a focus on customer is more efficient and predicable.
14 / 1973
“Planned Problems are Wicked Problems” By Rittel, Webber,
Wicked problems have no definite solution, because they don’t reveal their causes. Lots of solutions are possible and there is no absolute truth when dealing with wicked problems. Wicked, planning problems cannot be approached as if they were scientific problems.
15 / 2008
�Co-creation and the new landscapes of design� By Elizabeth B.-N. Sanders & Pieter Jan Stappers
Co-creation is creativity shared by two or more people. Co-design is when trained designers work with non-designers. In this kind of design there is an assumption that everyone is creative. Co-design works against consumerism, but propersona happiness achieved by buying. The user is an expert of own experience. There is no product design anymore, there is design for purpose instead, with focus on future users.
16 / 1983
The Reflective Practitioner – How professionals think in action By Donald A. Schön
In this book Schön examines five professions to show how professionals in different fields work with problem solving. In the chapter 3 (Design as a reflective conversation with the situation), he explore the reflective conversation, in the field of architecture, he draws on a case from a design studio where a student is getting supervision from a design practitioner. In the designing process he talks about, what he calls ”back talk”, and by that he means a conversation the designer has with the design while designing it. It is described how he can never make a move which has only the effects intended for it. That makes him apprehend unforeseen problems, but also new potentials, and in the same time he evaluates the moves that have created them.
T H E R E F L E C TIVE PR AC TION E R
- How professonals think in action
P U T I N TO U S E I N S P E C I F I C , U N I Q U E C A S E
PR AC TIONE R = DES IGNE R / ARC HITE C T ’C ATA LOGUE ’ OF E XPE R IE NCE, PRE VIOUS P R OJEC TS AND KNOWN E XAMPLE S
TAL KIN G W H IL E D R AW IN G = L AN G UAG E OF D ES IG N IN G
. . . t h e n yo u c a n p l a ce t h e do o r by t h i s l i n e a n d h e re yo u c a n h ave a w i n dow. . .
TAL K IN G ABOU T D ES IG N D OMAIN S = L AN G UAG E ABOU T D ES IG N IN G
. . . t r y to c h a n g e t h e s c a l e o f t h e w i n dow a n d t h e p l a ce m e nt o f t h e do o r. . .
NO
I ntention is fulfilled but is has overall negative consequences.
I ntention is not fulfilled and is has overall negative consequences.
D esigner keeps exper imenting to reach better overall solution
D esigner keeps exper imenting and apply a new theor y
I ntention is fulfilled with positive overall consequences. YE S
ARE THE OV E R AL L CON SE QU E N SE S OF THE E XP E R IME N T D E SIR ABL E F OR THE P R OJ E C T?
THE DESI GNERS WAY O F E VA LUATING E XPE RIME NTS CON DUC T ED IN TH E SKE TCH /PROTOT YPE
D esigner stops exper imenting.
YE S
R EFLEC TION-IN-AC T I ON = LOOP OF DR AWING AND T HI NK I NG
I ntention is not fulfilled but other positive overall consequences are found and valued.
TAL KIN G AN D T H IN K IN G L E A DS TO AC T I O N S D R AW IN G L IN ES ON PAP ER / P R OTOT YP I N G
D esigner keeps exper imenting to fulfill intentions
T H E D ES IG N ER IS S H AP IN G T H E S I T UAT I O N W I T H L AN G UAG E AN D AC T ION S AT T H E S AM E T I M E BOT H CON S TAN T LY IN F OR M I N G E AC H OT H E R .
NO
IS THE INTENTION OF THE EXPERIMENT FULFILLED?
T H E D ES IG N ER CON D U C TS E X P E R I M E N TS BY DR A W IN G AN D MAKES CON S TA N T E VA LUAT I O N O F T H E ’S IT UAT ION’. W H EN T H E DE S I G N E R MA K E S C H AN G ES TO T H E ’S IT UAT I O N’ ( S K E TC H ) I T W I L L ’BAC K- TAL K ’ AN D F EED N E W I N F O R MAT I O N I N TO T H E LOOP OF R EF L EC T ION - I N - AC T I O N .
’ TH E SITUATIO N’ = SK E TCH OR PROTOT YPE - A VIR TUAL RE PRE SE NTATION O F RE A LI T Y WHE RE TH E DE SIGNE R C AN CO ND U C T E X PE RI ME NTS I N THE D E SI GN PR O C E SS
1. 2. S P ECIFIC, U N IQU E DESIG N C ASE
THE R EALIT Y = THE R EALISED DESIGN/BUILDING
BY MARIA VIF TRU P CR AMER A ND MIC HEL L E BR A NDST R UP
- H ER E AR E L IM ITS OF EX . T EC N OLOG Y, P R IC E, W EAT H ER CON D IT ION S E TC . T H ES E L IM ITAT ION S / C H AL L EN G ES W H IC H MAK ES IT H AR D TO EX P ER IM EN T.
17 / 2015 ‘’Rethinking Design Thinking’’ By Lucy Kimbell
The article by Lucy Kimbell focuses on the idea of critical thinking and discuss it further with a critical approach. The author touches upon the origins of design thinking, the different approaches to design process and ultimately argues and questions what design thinking actually represents. The articles introduces us to design as an increasingly expanded and complex field, with professional designers seen as problem-solvers of complex design issues. To better understand the design language as well as the practice, the idea of design thinking is gaining more and more attention in the past years. Design thinking has been used to characterize the knowledge of individual designers, their approach to their work as well as the actual process.
18 / 2008
Design, Meanings, and Radical Innovation By Verganti
The study gives an insight to different design management strategies and compares them with theories applied in technology management. Roberto Verganti’s ambition was to open up a research field that was not discussed much in the past and stimulate further investigation of this unexplored area of design management through case studies and different suggested directions. Until the article of Verganti most of the existing studies of design management were concentrated on user-centered design, which approach explains how companies can learn and satisfy their customers’ needs. While there is another strategy which doesn’t have as broad research background as the aforementioned strategy. It is called design-driven innovation and its starting point differs from user-centered design because it focuses on the
NGISED YGOLODOHTEM
Danica Mlynarikova Elzbieta Pietak Eva-Karlotta Tatar Eimile Zalubaite Cecilie Bak Lindhardt Fabricius