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 so
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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 phenome
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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 ‘landsc
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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 Au
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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 de
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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
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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 i
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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<br>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 de
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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
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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 rel
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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 po
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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
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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 tha
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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 cur
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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 lin
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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 reposito
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Reports on the topic "Designerly knowing"

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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 le
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