Relevant bibliographies by topics / Designerly knowing

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Designerly knowing'

Author: Grafiati
Published: 4 June 2021
Last updated: 19 February 2022

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Journal articles on the topic "Designerly knowing"

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McDonagh, Deana. "Designerly Ways of Knowing by Nigel Cross." Design Journal 11, no. 2 (September 2008): 207–9. http://dx.doi.org/10.2752/175630608x329262.

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Chon, Harah, and Joselyn Sim. "From design thinking to design knowing: An educational perspective." Art, Design & Communication in Higher Education 18, no. 2 (October 1, 2019): 187–200. http://dx.doi.org/10.1386/adch_00006_1.

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The process of design explicates the procedural knowledge of design activities, shifting theoretical conceptions across practical dimensions. Design thinking, as a creative and innovative methodology, has been established as a designerly process for non-designers to address complex problems. This article reviews the implications of introducing the design thinking methodology as a pedagogical approach in design education at LASALLE College of the Arts in Singapore, generating new knowledge to inform the research spaces of design practice and theory. Using the design thinking methodology as a sound framework to facilitate risk-taking decisions in design research and practice, students from the design specialisms of Design Communication, Product Design and Interior Design were inducted into an interdisciplinary project. The perspectives and insights arising from the collaborative, design thinking methodology are extracted, analysed and adapted to form a framework to illustrate the non-linear, circular structures of knowledge generation from theory (designerly knowing) to practice (design thinking) and research (design knowing).
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Cross, Nigel. "Designerly Ways of Knowing: Design Discipline Versus Design Science." Design Issues 17, no. 3 (July 2001): 49–55. http://dx.doi.org/10.1162/074793601750357196.

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Heylighen, Ann, and Jasmien Herssens. "Designerly Ways of Not Knowing: What Designers Can Learn about Space from People Who are Blind." Journal of Urban Design 19, no. 3 (March 10, 2014): 317–32. http://dx.doi.org/10.1080/13574809.2014.890042.

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Henriksen, Danah. "EXPANDING THE PARADIGM: BRINGING DESIGNERLY PERSPECTIVES INTO CREATIVITY SCHOLARSHIP." Creativity Studies 12, no. 1 (March 15, 2019): 15–33. http://dx.doi.org/10.3846/cs.2019.6757.

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Designerly ways of knowing have significant untapped potential to inform creativity research. In this article, I draw upon in-depth interviews with expert design scholars to examine this connection. Thematic analysis reveals how design offers potential lenses on creativity that are not often taken up in dominant psychological discourses around creativity. I situate this by framing the need for design-based knowledge within creativity literature. The findings reflect a view of creativity involving perception, intuition, and ability to re-see the world; creativity as an action-orientated phenomenon; and a focus on the ethics of creativity in an increasingly technology-empowered society. In exploring scholarly definitions of and views about creativity, there are insights on how design offers distinctive viewpoints for paradigms around creativity.
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Van der Velde, Rene, Michiel Pouderoijen, Janneke Van Bergen, Inge Bobbink, Frits Van Loon, Denise Piccinini, and Daniel Jauslin. "Building with landscape." Research in Urbanism Series 7 (February 18, 2021): 129–48. http://dx.doi.org/10.47982/rius.7.131.

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The multi-dimensionality of BwN calls for the incorporation of ‘designerly ways of knowing and doing’ from other fields involved in this new trans-disciplinary approach. The transition out of a focus on rational design paradigms towards reflective design paradigms such as those employed in the spatial design disciplines may be a first step in this process. By extension, the knowledge base and design methodologies of BwN may be critically expanded by drawing on ways of knowing and doing in spatial design disciplines such as landscape architecture, which elaborates the agency of the term ‘landscape’ as counterpart to the term ‘nature’. Operative perspectives and related methodologies in this discipline such as perception, anamnesis, multi-scalar thinking, and process design resonate with specific themes in the BwN approach such as design of/with natural processes, integration of functions or layers in the territory and the connection of engineering works to human-social contexts. A series of installations realised for the Oerol festival on the island of Terschelling between 2011 and 2018 serve as case studies to elaborate potential transfers and thematic elaborations towards BwN. In these projects inter-disciplinary teams of students, researchers and lecturers developed temporary landscape installations in a coastal landscape setting. Themes emerging from these project include ‘mapping coastal landscapes as complex natures’, ‘mapping as design-generative device’, ‘crowd-mapping’, ‘people-place relationships’, ‘co-creation’, ‘narrating coastal landscapes’, ‘public interaction’ and ‘aesthetic experience’. Specific aspects of these themes relevant to the knowledge base and methodologies of BwN, include integration of sites and their contexts through descriptive and projective mappings, understanding the various spatial and temporal scales of a territory as complex natures, and the integration of collective narratives and aesthetic experiences of coastal infrastructures in the design process, via reflective dialogues.
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Stein, Jesse Adams. "Hidden Between Craft and Industry: Engineering Patternmakers’ Design Knowledge." Journal of Design History 32, no. 3 (March 30, 2019): 280–303. http://dx.doi.org/10.1093/jdh/epz012.

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Abstract Craft is currently experiencing an academic and popular revival, as evidenced by increasing interest in ‘makers’ and artisanal practices, both within and beyond design history. Yet, in this moment of craft’s resurgence, some aspects are regularly overlooked. Industrial craft in manufacturing, for instance, is a field ripe for closer analysis. Engineering patternmaking is an industrial craft that remains almost invisible in design history, despite the design-related nature of patternmaking, and its centrality to many industrial manufacturing processes. Drawing on oral histories with Australian patternmakers, this article emphasizes that patternmaking is both a manual and intellectual practice that requires thorough knowledge of drawing, materials, geometry, three-dimensional visuality and manufacturing processes planning. Accordingly, I argue that patternmakers possess and enact a specific type of design knowledge, a form of expertise that has thus far been undervalued in both design and craft histories. Making use of Nigel Cross’ influential theorization of ‘designerly ways of knowing’, this article explores the connections and divergences between design and patternmaking knowledge sets, reminding us that the making of manufactured objects is deeply collaborative across professional and class formations. In doing so, I highlight the significance of industrial craft knowledge in the actualization of design. This example has broader historical implications for how design history frames and values the knowledge, skills and influence of those engaged in industrial production.
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Neubauer, Ruth, Erik Bohemia, and Kerry Harman. "Rethinking Design: From the Methodology of Innovation to the Object of Design." Design Issues 36, no. 2 (April 2020): 18–27. http://dx.doi.org/10.1162/desi_a_00587.

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The design literature theorizes design as the methodology of innovation, supposedly required for mediating the world’s separate entities, such as theory and practice, the human and the material, and subjective and objective knowing, coming “naturally” with the designer’s ways of knowing. But instead of taking such naturalizations for granted, we argue that through such positioning of design the specifics of design activity are obscured, along with the locations designers take within them. We propose that “design as a methodology” is an object produced by design. Investigating this object of design, and how it is made, will make visible what design activity is, and what locations the designers take within them.
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Koppen, Eva, and Christoph Meinel. "Knowing People: The Empathetic Designer." Design Philosophy Papers 10, no. 1 (May 2012): 35–51. http://dx.doi.org/10.2752/089279312x13968781797553.

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Weinhold, Marcia Weller. "Designer Functions: Power Tools for Teaching Mathematics." Mathematics Teacher 102, no. 1 (August 2008): 28–33. http://dx.doi.org/10.5951/mt.102.1.0028.

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What would you do if you had only one semester to help prospective teachers understand all you had learned from teaching high school mathematics for seventeen years and from researching how students learn mathematics? I want prospective teachers to see the difference between knowing how to do mathematics and knowing how to teach mathematics. I want to show that what is important is what students do; what the teacher does must be in the background. On the other hand, these preservice teachers' major concern is that they have not studied high school mathematics since they themselves were in high school. In addition, they usually are able to use technology to do mathematics but have little experience using technology to teach mathematics.
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Dissertations / Theses on the topic "Designerly knowing"

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Choi, Mark. "Make & Articulate : Developing Holistic Designerly Ways of Knowing Through Making." Research Showcase @ CMU, 2014. http://repository.cmu.edu/theses/72.

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Fueled by the value of “Design Thinking” as an innovation and problem solving tool, a rising number of engineers have been entering graduate programs in interaction design to learn how to design. However an engineer’s strong emphasis on the end product stands at odds with design’s emphasis on the process. This predisposition oftentimes impedes with an the engineer’s ability to fully engage with their new culture of design where they must employ new ways of knowing. The fact of the mater is, designerly ways of knowing is not something simply learned by books, or sifting through literature. It is instead a new way of knowing by approaching making as a process of discovery, clarity and craft while iterating towards refinement and articulation. For technically rational minded individuals a career change into design points to a larger challenge beyond learning tools and methods, where the act of change represents a necessity to transition in worldviews; going from a field filled with certainty to a field that deals with uncertainty, in design. Without understanding the value of designerly ways of knowing and having the agility to navigate through the uncertainty in the form of designerly ways of making, technically minded individuals can easily feel stuck and disoriented stuck while experiencing a full on “culture shock.” This thesis looks to aid in the process of transition by uncovering pre-understandings, roadblocks, and opportunities of a cultural transition from engineering to design. Using human centered design methods and informed ways of making, the goal is to create a model to engage in designerly ways of making in order to better navigate uncertainty and begin to know in designerly ways.
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Ozten, Anay Meltem. "Problem Structuring With User In Mind: User Concept In The Architectural Design Studio." Phd thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/3/12611718/index.pdf.

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Dealing with the problem between user related knowledge and design, the present thesis underlines the guiding role of designer&rsquo
s user concept as a concept in problem structuring, by framing his/her understanding about user and influencing knowledge use and solution generation. Considering limitations of prevailing user concept in the architectural design studio, underlying problems are detected with reference to knowledge and design contexts, which have critical influence on the formation of user concept, particularly on its capacity to cover qualities of user and its relation with design. Defined narrow content of knowledge context and the detachment between design and knowledge contexts constitute the problematic basis of limited user concept and indicate a need for a shift in student&rsquo
s user understanding. The thesis aims to provide a conceptual framework to define required change referring underlined contexts. The broadening of knowledge context is defined addressing unifying perspective of Universal Design, with its emphasis on diversity, user experience, and knowing user by experience. With reference to the notion of designerly ways of knowing, required constructive relation between knowledge and design contexts is reconceptualized as designerly way of knowing user and defined as user related knowledge generation as part of problem structuring and design concept generation through this knowledge base. The potentials of proposed framework are exemplified by an architectural design studio experience. The analysis shows that when student&rsquo
s user learning is organized within student&rsquo
s actual user investigation as part of problem structuring, it is possible for students to acquire needs and expectations of diverse users and translate them to solutions from user perspective generating user related design concepts. Therefore, proposed conceptual base promises to improve user concept of student not only to involve experiences of diverse users, but also to be designerly.
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Haslem, Neal Ragnar, and neal@nealhaslem net. "The practice and the community: a proposition for the possible contribution of communication design to public space." RMIT University. Applied Communication, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080212.165002.

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The practice of communication design has developed from a visual-communication service industry into a multi-facetted profession, directly involved with the maintenance and creation of social and cultural capital. The ancestry of communication design has led to its continued perception as a neutral tool for the achievement of communication. This research project aims to investigate the possible contributions of communication design as a practice, if it were to re-align its goals towards supporting and facilitating the community within which it is practiced. This research project is about the communication designer and the communities within which they practice: clients; target markets; companies; managers; neighbourhood groups; groups in a particular place and time; communities of practitioners; and emergent or yet to emerge communities. The project investigates designer agency and the ways for a communication designer to work holistically within communities: being or becoming part of them; working through and with them toward the achievement of communication goals. As much as it is about communicating, it is also about community. It is about designers working as conduits, facilitating and enabling the communities of their practice to find expression. It is about a democratisation of communication design authorship and power. It is about the design process as an educational process - all parts and participants within a design projects' community learning and teaching simultaneously. The research project encompasses a series of component projects, across a range of different media, using a practice-led-research framework and a reflective practitioner methodology as the key investigative tool.
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Books on the topic "Designerly knowing"

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Children designers: Interdisciplinary constructions for learning and knowing mathematics in a computer-rich school. Norwood, N.J: Ablex Pub. Corp., 1991.

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Architects + engineers = structures: A book that celebrates well-known designers Paxton, Torroja, Nervi, Saarinen, Buckminster Fuller, Le Corbusier, Niemeyer, Arup, Hunt and Foster, and the lesser-known such as Polivka, Glickman, Kornacker, Cardozo, Zetlin and Strasky. Chichester, West Sussex: Wiley-Academy, 2002.

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Cross, Nigel. Designerly Ways of Knowing. Springer, 2010.

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Designerly Ways of Knowing. London: Springer-Verlag, 2006. http://dx.doi.org/10.1007/1-84628-301-9.

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Designerly Ways of Knowing. Springer, 2006.

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Designerly Ways of Knowing (Board of International Research in Design). Birkhäuser Basel, 2007.

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A Designer's Research Manual: Succeed in Design by Knowing Your Clients and What They Really Need (Design Field Guide). Rockport Publishers, 2006.

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Place, That Patchwork. Dressed by the Best: Wearable Art Projects by 10 Well-Known Designers. Martingale & Co Inc, 1997.

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Inc, That Patchwork Place, ed. Dressed by the best: Wearable art projects by 10 well-known designers. Bothell, WA: That Patchwork Place, 1997.

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A Designer's Research Manual, 2nd edition, Updated and Expanded: Succeed in design by knowing your clients and understanding what they really need. Rockport Publishers, 2017.

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Book chapters on the topic "Designerly knowing"

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Cairns, George. "Aesthetic Knowing, “Designerly” Thinking and Scenario Analysis." In Handbook of Philosophy of Management, 1–19. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-48352-8_1-1.

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Cairns, George. "Aesthetic Knowing, “Designerly” Thinking and Scenario Analysis." In Handbooks in Philosophy, 1–19. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-48352-8_1-2.

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Donaldson, Jonan Phillip, and Brian K. Smith. "Design Thinking, Designerly Ways of Knowing, and Engaged Learning." In Learning, Design, and Technology, 1–24. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-17727-4_73-1.

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Andreasen, Mogens Myrup, Claus Thorp Hansen, and Philip Cash. "Designers and Their Knowing." In Conceptual Design, 37–70. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-19839-2_3.

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Oury, Jacob D., and Frank E. Ritter. "Introducing Interface Design for Remote Autonomous Systems." In Human–Computer Interaction Series, 1–20. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-47775-2_1.

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AbstractThis chapter presents a high-level overview of how designers of complex systems can address risks to project success associated with operator performance and user-centered design. Operation Centers for remote, autonomous systems rely on an interconnected process involving complex technological systems and human operators. Designers should account for issues at possible points of failure, including the human operators themselves. Compared to other system components, human operators can be error-prone and require different knowledge to design for than engineering components. Operators also typically exhibit a wider range of performance than other system components. We propose the Risk-Driven Incremental Commitment Model as the best guide to decision-making when designing interfaces for high-stakes systems. Designers working with relevant stakeholders must assess where to allocate scarce resources during system development. By knowing the technology, users, and tasks for the proposed system, the designers can make informed decisions to reduce the risk of system failure. This chapter introduces key concepts for informed decision-making when designing operation center systems, presents an example system to ground the material, and provides several broadly applicable design guidelines that support the development of user-centered systems in operation centers.
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Parrish, Patrick. "Designing for the Half-Known World: Lessons for Instructional Designers from the Craft of Narrative Fiction." In Design in Educational Technology, 261–70. Cham: Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-00927-8_15.

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Oury, Jacob D., and Frank E. Ritter. "Cognition and Operator Performance." In Human–Computer Interaction Series, 37–62. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-47775-2_3.

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AbstractDeveloping systems that foster situation awareness in operators requires that stakeholders can make informed decisions about the design. These decisions must account for the operator’s underlying cognitive processes based on perception, comprehension, and projection of the system state. This chapter reviews the core cognitive processes responsible for monitoring and responding to changes in system state. Operators must perceive information before they can act in response, and the interface design affects operator accuracy and speed via known mechanisms (i.e., effects of color on visual search time). Perception of key information also relies on how the operator thinks during tasks, and certain design choices can support better attention control and detection of signals. After perceiving the information, operators also must comprehend and interpret the information. Design guidance and factors related to supporting comprehension are presented alongside explanations of how cognitive load and working memory affect the operator’s ability to develop and maintain a useful mental model of the system. This review of cognitive mechanisms gives designers a strong foundation to make informed decisions ranging from choosing an alarm color to assessing how much information should be on screen at once.
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"From a Design Science to a Design Discipline: Understanding Designerly Ways of Knowing and Thinking." In Design Research Now, 41–54. Birkhäuser, 2007. http://dx.doi.org/10.1007/978-3-7643-8472-2_3.

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Garrigan, Scott R. "Evolving Practice for Training Online Designers and Instructors." In Handbook of Research on Virtual Training and Mentoring of Online Instructors, 166–81. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-6322-8.ch008.

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Online courses place greater responsibility and demands on both the instructor and students compared to traditional face-to-face courses. Online instructors and designers are often given checklists of required or best online teaching practices to help them meet the challenge. But these checklists tend to assume that online courses fall into a single model that is independent of course goals and of the unique teaching style and strengths of the online instructor. This chapter presents the author's methods and values in training online instructors and designers. Conventional online instruction model aside, the focus is on helping the instructor and designer identify salient aspects of the course, the students, and the instructor. The chapter presents methods, content, and values that may to be less known, less understood, or difficult to implement for new designers and instructors. Each model builds on elements such as student interests, deep engagement, group collaboration, and practical assessment.
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Campbell, Katy, Richard A. Schwier, and Heather Kanuka. "Investigating Sociocultural Issues in Instructional Design Practice and Research." In Handbook of Research on Culturally-Aware Information Technology, 49–73. IGI Global, 2011. http://dx.doi.org/10.4018/978-1-61520-883-8.ch003.

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This chapter is a narrative account of the process involved to initiate a program of research to explore how instructional designers around the world use design to make a social difference locally and globally. The central research question was, “Are there social and political purposes for design that are culturally based?” A growing body of research is concerned with the design of culturally appropriate learning resources and environments, but the focus of this research is the instructional designer as the agent of the design. Colloquially put, if, as has been suggested, we tend to design for ourselves, we should understand the sociocultural influences on us and how they inform our practices. We should also develop respect for, and learn from, how various global cultures address similar design problems differently. The authors report the results of a preliminary investigation held with instructional designers from ten countries to examine culturally situated values and practices of instructional design, describe the research protocol developed to expand the investigation internationally, and share emerging issues for instructional design research with international colleagues. In this chapter, the authors link their earlier work on instructional designer agency with the growing research base on instructional design for multicultural and/or international learners. This research takes the shape of user-centred design and visual design; international curriculum development, particularly in online or distance learning; and emphasis on culturally appropriate interactions. We have suggested that instructional designers’ identity, including their values and beliefs about the purpose of design, are pivotal to the design problems they choose to work on, the contexts in which they choose to practice, and with whom. Our interest in the culture of design, then, is less process-based (how to do it) than interrogative (why we do it the way we do). And that has led us to ask, “Is there one culture of instructional design, or are there many, and how are these cultures embodied in instructional designers’ practice?” The idea of design culture is well established. Most notably, investigations of professional culture have attracted significant attention (Boling, 2006; Hill, J., et. al., 2005; Snelbecker, 1999). These investigations have concentrated on how different professions, such as architecture, drama, engineering and fine art approach design differently, with the goal of informing the practice of design in instructional design (ID). The decision-making processes of design professionals have also been illuminated by scholars like Donald Schon (1983) who described knowing-in-action and suggested the link between experience, (sociocultural) context, and intuition with design made visible through reflective practice.
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Conference papers on the topic "Designerly knowing"

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Lupetti, Maria Luce, Cristina Zaga, and Nazli Cila. "Designerly Ways of Knowing in HRI." In HRI '21: ACM/IEEE International Conference on Human-Robot Interaction. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3434073.3444668.

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LIMA, Ana Gabriela Godinho, and Alessandra Márcia de Freitas STEFANI. "Past, present and future of designerly ways of knowing." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-016.

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Van der Linden, Valerie, Hua Dong, and Ann Heylighen. "Capturing architects’ designerly ways of knowing about users: Exploring an ethnographic research approach." In Design Research Society Conference 2016. Design Research Society, 2016. http://dx.doi.org/10.21606/drs.2016.419.

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Iino, Kenji, and Yotaro Hatamura. "A Conceptual Design Tool With Error Warning." In ASME 2005 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2005. http://dx.doi.org/10.1115/detc2005-84541.

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Collecting design error or failure information in a database (FKDB: Failure Knowledge Database) gives an organization an effective place for designers to study and learn past events so they will not repeat the same mistakes in their own design. When a designer makes an error, however, he had not foreseen the mistake at all. Once made, the error may seem trivial and even predictable, however, at the time of design, the problem and facts that surround the error are completely concealed from the designers mind. The designer, therefore, has no intention to look at past failure information that relate to the error he is repeating at the time of his design. This often makes the FKDB, despite of all the efforts in collecting the information it holds, a mere collection of past failure cases waiting for its passive use; the designer may occasionally look it up for the purpose of general study. A group of people including one of the authors, in the past, developed a conceptual design tool, Creative Design Engine (CDE) that helps the designer by displaying mechanisms, machines, sub-assemblies, and related information that realize functional requirements that the designer wants to accomplish. The tool effectively brings the designer’s consciousness to ideas new to him or something that escaped his mind at the time of conceptual design. We analyzed this tool and laid out the modifications necessary so that it not only displays design solutions and alternative options to the designer but also gives warnings to the designer about design error he is about to make during conceptual design. The application will constantly monitor the designer’s intention to compare it to known failures in the FKDB.
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Ferrero, Vincenzo J., Naser Alqseer, Melissa Tensa, and Bryony DuPont. "Using Decision Trees Supported by Data Mining to Improve Function-Based Design." In ASME 2020 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/detc2020-22498.

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Abstract Engineering designers currently use downstream information about product and component functions to facilitate ideation and concept generation of analogous products. These processes, often called Function-Based Design, can be reliant on designer definitions of product function, which are inconsistent from designer to designer. In this paper, we employ supervised learning algorithms to reduce the variety of component functions that are available to designers in a design repository, thus enabling designers to focus their function-based design efforts on more accurate, reduced sets of potential functions. To do this, we generate decisions trees and rules that define the functions of components based on the identity of neighboring components. The resultant decision trees and rulesets reduce the number of feasible functions for components within a product, which is of particular interest for use by novice designers, as reducing the feasible functional space can help focus the design activities of the designer. This reduction was evident in both case studies: one exploring a component that is known to the designer, and the other looking at defining function of an unrecognizable component. The work presented here contributes to the recent popularity of using product data in data-driven design methodologies, especially those focused on supplementing designer cognition. Importantly, we found that this methodology is reliant on repository data quality, and the results indicate a need to continue the development of design repository data schemas with improved data consistency and fidelity. This research is a necessary precursor for the development of function-based design tools, including automated functional modeling.
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Yan, Xiu-Tian, Jonathan C. Borg, and Neal P. Juster. "A Proactive Approach to Integrated Synthesis of Components and Realization Systems." In ASME 2000 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2000. http://dx.doi.org/10.1115/detc2000/dfm-14018.

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Abstract Product designers are under increasing pressure to reduce lead time, improve quality and reduce cost of a product. An important approach is to generate not only design solutions of a component, but also manufacturing models for the component at the same time so that a designer can make design decisions whilst having access to evolving “virtual” manufacturing system models. This paper presents such an approach that proactively supports designers to make informed design decisions, by revealing knowledge of component related manufacturing and assembly processes. Knowing the manufacturing and assembly implications of design decisions during design, designers are aided to avoid negative implications and promote positive ones. Based on the approach a Knowledge Intensive CAD (KICAD) prototype tool, named FORESEE has been developed. FORESEE allows designers to foresee and explore manufacturing and assembly consequences caused by design decisions, co-evolving during mechanical component design decision making. The paper presents an outline of the KICAD’s approach, its architecture, system requirements of such a system and its implementation. The application of the prototype is also demonstrated through a thermoplastic component design session.
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Tsujimoto, Kazuya, Shinji Miura, Akira Tsumaya, Yukari Nagai, Amaresh Chakrabarti, and Toshiharu Taura. "A Method for Creative Behavioral Design Based on Analogy and Blending From Natural Things." In ASME 2008 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/detc2008-49389.

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In the near future, robots and CG (computer graphics) will be required to exhibit creative behaviors that reflect designers’ abstract images and emotions. However, there are no effective methods to develop abstract images and emotions and support designers in designing creative behaviors that reflect their images and emotions. Analogy and blending are two methods known to be very effective for designing creative behaviors. The aim of this study is to propose a method for developing designers’ abstract behavioral images and emotions and giving shape to them by constructing a computer system that supports a designer in the creation of the desired behavior. This method focuses on deriving inspiration from the behavioral aspects of natural phenomena rather than simply mimicking it. We have proposed two new methods for developing abstract behavioral images and emotions by which a designer can use analogies from natural things such as animals and plants even when there is a difference in the number of joints between the natural object and the design target. The first method uses visual behavioral images, the second uses rhythmic behavioral images. We have demonstrated examples of designed behaviors to verify the effectiveness of the proposed methods.
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Miller, Scarlett R., and Brian P. Bailey. "Searching for Inspiration: An In-Depth Look at Designers Example Finding Practices." In ASME 2014 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/detc2014-35450.

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Designers frequently use examples during the design process as a way to provide a visual framework, allow for re-interpretation and allow for evaluation of design ideas. Although the use of examples is an important part of the design process, little is known about how designers retrieve these examples or the characteristics of the example set designers collect for a given project. Knowledge of this behavior is important, as research has shown that using examples too similar to the design problem or too familiar to the designer can cause design fixation and hinder creativity. Therefore, the current study was conducted to provide insights into these example retrieval processes by monitoring 18 professional designers during a 90-minute design task complemented by surveys and interviews for an in-depth understanding of user behavior. We relate our results to research on design fixation and provide implications for the development of example finding tools.
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Legerstee, Franck, Michel Franc¸ois, Ce´dric Morandini, and Ste´phane Le-Guennec. "Squall: Nightmare for Designers of Deepwater West African Mooring Systems." In 25th International Conference on Offshore Mechanics and Arctic Engineering. ASMEDC, 2006. http://dx.doi.org/10.1115/omae2006-92328.

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Squalls have been present in the environmental specifications for floating units in West Africa for the last couple of years. However it appears that such phenomena tend to be the designing factor for mooring systems of deepwater FPSO’s (in spread or turret configuration) and offloading buoys. At that stage, due to the lack of proper modelling/characterisation, squalls tend to be represented for design purposes by on-site recorded time series of varying wind velocity and associated relative headings applied from any direction. This leads to rapid changes in offsets and loads in the mooring lines induced by the transient response of the vessel to sudden load increase generated by such squall signal. Through diverse exemplary simplified calculations, this paper illustrates the influence of the consideration of squalls in the design process, together with the present shortcomings in the modelling process, either in terms of extreme conditions, or in terms of operating conditions, knowing that such events are difficult to forecast. In addition the effect of tugs, and associated operating limitations are also discussed. Areas needing further investigation are finally identified.
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Bryant, Cari R., Daniel A. McAdams, Robert B. Stone, Tolga Kurtoglu, and Matthew I. Campbell. "A Computational Technique for Concept Generation." In ASME 2005 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2005. http://dx.doi.org/10.1115/detc2005-85323.

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Few computational tools exist to assist designers during the conceptual phase of design, and design success is often heavily weighted on personal experience and innate ability. Many well-known methods (e.g. brainstorming, intrinsic and extrinsic searches, and morphological analysis) are designed to stimulate a designer’s creativity, but ultimately still rely heavily on individual bias and experience. Under the premise that quality designs comes from experienced designers, experience in the form of design knowledge is extracted from existing products and stored for reuse in a web-based repository. This paper presents an automated concept generation tool that utilizes the repository of existing design knowledge to generate and evaluate conceptual design variants. This tool is intended to augment traditional conceptual design phase activities and produce numerous feasible concepts early in the design process.
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Reports on the topic "Designerly knowing"

1

Roye, Thorsten. Unsettled Technology Areas in Deterministic Assembly Approaches for Industry 4.0. SAE International, August 2021. http://dx.doi.org/10.4271/epr2021018.

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Increased production rates and cost reduction are affecting manufacturing in all sectors of the mobility industry. One enabling methodology that could achieve these goals in the burgeoning “Industry 4.0” environment is the deterministic assembly (DA) approach. The DA approach is defined as an optimized assembly process; it always forms the same final structure and has a strong link to design-for-assembly and design-for-automation methodologies. It also looks at the whole supply chain, enabling drastic savings at the original equipment manufacturer (OEM) level by reducing recurring costs and lead time. Within Industry 4.0, DA will be required mainly for the aerospace and the space industry, but serves as an interesting approach for other industries assembling large and/or complex components. In its entirety, the DA approach connects an entire supply chain—from part manufacturing at an elementary level to an OEM’s final assembly line level. Addressing the whole process of aircraft design and manufacturing is necessary to develop further collaboration models between OEMs and the supply chain, including addressing the most pressing technology challenges. Since all parts aggregate at the OEM level, the OEM—as an integrator of all these single parts—needs special end-to-end methodologies to drastically decrease cost and lead time. This holistic approach can be considered in part design as well (in the design-for-automation and design-for-assembly philosophy). This allows for quicker assembly at the OEM level, such as “part-to-part” or “hole-to-hole” approaches, versus traditional, classical assembly methods like manual measurement or measurement-assisted assembly. In addition, it can increase flexibility regarding rate changes in production (such as those due to pandemic- or climate-related environmental challenges). The standardization and harmonization of these areas would help all industries and designers to have a deterministic approach with an end-to-end concept. Simulations can easily compare possible production and assembly steps with different impacts on local and global tolerances. Global measurement feedback needs high-accuracy turnkey solutions, which are very costly and inflexible. The goal of standardization would be to use Industry 4.0 feedback and features, as well as to define several building blocks of the DA approach as a one-way assembly (also known as one-up assembly, or “OUA”), false one-way assembly, “Jig-as-Master,” etc., up to the hole-to-hole assembly approach. The evolution of these assembly principles and the link to simulation approaches are undefined and unsolved domains; they are discussed in this report. They must be discussed in greater depth with aims of (first) clarifying the scope of the industry-wide alignment needs and (second) prioritizing the issues requiring standardization. NOTE: SAE EDGE™ Research Reports are intended to identify and illuminate key issues in emerging, but still unsettled, technologies of interest to the mobility industry. The goal of SAE EDGE™ Research Reports is to stimulate discussion and work in the hope of promoting and speeding resolution of identified issues. SAE EDGE™ Research Reports are not intended to resolve the challenges they identify or close any topic to further scrutiny.
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