Design problems are not of a kind: differences in the effectiveness of visual stimuli in design problem solving (original) (raw)
VISUAL REASONING IN THE DESIGN PROCESS The differences between expert and novice
2014
Abstract: In design studies, information-processing and reflection-in-action paradigms were mainstreams in describing designing. This study however took the viewpoint of the visual design reasoning theory where abstract, conceptual knowledge and perceptually-based knowledge were interlinked. The major purpose was examining the design process using visual design reasoning to discover the essential features of design activities. The minor purpose was to demonstrate the differences between a novice and an expert result from the dissimilar abilities of visual reasoning. Retrospective protocol analysis and DCOCS were utilized to explore the interactions between physical drawing and goal-setting. Two main findings were: visual reasoning occupied significant portion of the design process, and to continuously apply visual reasoning is the essential ability of an experienced designer. The idea of visual reasoning was discussed. 1.
Sketching interpretation in novice and expert designers
Visual and Spatial Reasoning in Design, 1999
Abstract. This paper focuses on the differences in visual reasoning between a novice and an expert architectural designer during the conceptual design process. The cognitive actions of each designer while sketching were categorized into four main groups (each consisting of a number of sub-groups): physical, perceptual, functional, and conceptual. Based on this analysis, we found that the expert differs markedly from the novice in productivity in terms of the number of sketches and the number of alternative ideas. We focused on the ...
The roles of sketching in design: Mapping the tension between functions in design sketches
Nordic Design Research Conference
This paper examines how the role of sketching in design process has been disseminated previously through a review of prior perspectives into the field. We identify that the studies of design sketching has been dominated by two perspectives: studies into what is known as 'visual thinking' (Goldschmidt 1991, Schön & Wiggins 1992, Tversky et al. 1999), which examines the designers reflective conversation with the sketch, and a second perspective on sketching as way of 'visual communication' with others in the design process (Lugt 2005, Schütze 2003, Buxton 2010). We raise the question of whether it is reasonable to combine the two different roles of sketching to form a more intertwined relationship-seeing the two as sides of the same coin. Based on the terminology of Olofsson & Sjöflen (2005) four functions are identified as being representative for the different roles sketching can take in the design process: investigative, explorative, communicative, and persuasive. We appropriate these categories into a tension field, reflecting how the role of the same sketch may change over the course of time in the design project, based upon the type of knowledge required to gain from the sketch at a given time.
Drawing as a means to design reasoning
Drawing as a means to design reasoning, 1996
We investigate the functions of drawing in design and how, based on these functions, a computational sketching environment might support design reasoning. Design, like all problem solving activities, involves reasoning— making decisions, expressing ideas, verifying and evaluating proposals, and ultimately, taking action. For designers, drawing is a vehicle for design reasoning, and therefore the spontaneous marks made on paper during sketching form a partial record of the designer’s thinking. Most designers sketch early design ideas with a pencil on paper: sketching is still the quickest and most direct means to produce visual representations of ideas. The ambiguity of free hand sketching allows multiple interpretations and thus stimulates the production of more design alternatives. The linked acts of drawing and looking invite designers to recognize new interpretations of the alternatives they propose. By drawing and looking, designers find visual analogies, remember relevant examples, and discover new shapes based on previously unrecognized geometric configurations in their sketches. Autores: Ellen Yi-Luen Do & Mark D. Gross Drawing as a means to design reasoning Do, E. and M. D. Gross Artificial Intelligence in Design ‘96 Workshop on Visual Representation, Reasoning and Interaction in Design, Palo Alto, CA.
2006), To sketch or not to sketch? That is the question, Design Studies
2016
Abstract: In this paper we question whether sketching is essential for conceptual designing. In order to test this hypothesis, we conducted think-aloud experiments with expert architects. They were engaged in two separate design processes: where they were not allowed sketch, and where they were allowed to sketch. The comparison of design activities in two conditions was based on a protocol analysis. The results show that there is no significant difference between sketching and not sketching based on three assessments: design outcome, cognitive activity and idea links. This case study shows that sketching is not an essential activity for expert architects in the early phases of conceptual designing.
The Roles of Sketching in Design: Mapping the tension between functions in in Design Sketches
Nordic Design Conference 2015 (Accepted)
This paper examines how the role of sketching in design process has been disseminated previously through a review of prior perspectives into the field. We identify that the studies of design sketching has been dominated by two perspectives: studies into what is known as ‘visual thinking’ (Goldschmidt 1991, Schön & Wiggins 1992, Tversky et al. 1999), which examines the designers reflective conversation with the sketch, and a second perspective on sketching as way of ‘visual communication’ with others in the design process (Lugt 2005, Schütze 2003, Buxton 2010). We raise the question of whether it is reasonable to combine the two different roles of sketching to form a more intertwined relationship - seeing the two as sides of the same coin. Based on the terminology of Olofsson & Sjöflen (2005) four functions are identified as being representative for the different roles sketching can take in the design process: investigative, explorative, communicative, and persuasive. We appropriate these categories into a tension field, reflecting how the role of the same sketch may change over the course of time in the design project, based upon the type of knowledge required to gain from the sketch at a given time.
To design versus to understand design: the role of graphic representations and verbal expressions
Design Studies, 1999
T his study is based on the assumption that 'to design' and 'to understand design' are two related but distinct processes. The activity of design necessitates making decisions, comparing alternative routes to take to decide on one, and thinking in abstract terms for conceptualizing; thus, it is synthetic. On the other hand, the activity of understanding design is similar to reading, necessitates deciphering the thought process of the designer, making abstractions of relations, relating the design product to other examples; hence, it is analytical. As such, the common denominator between the two processes is the capacity of abstraction, ability of thinking in abstract terms. Yet, the nature and the medium of abstraction may not be the same for students with different tendencies. Here, it is argued that while the act of designing (synthesis) is primarily related with the ability of making visual abstractions (graphic analysis), 'correctly' judging a design product is related to the ability of making 0142-694X/99 $ -see front matter Design Studies 20 (1999) 123-130 123 PII: S0142-694X(98)00030-1
Variances in the impact of visual stimuli on design problem-solving performance
Research in cognitive psychology and in design thinking has shown that the generation of inner representations in imagery and external representations via sketching are instrumental in design problem solving. In this paper we focus on another facet of visual representation in design: the 'consumption' of external visual representations, regarded as stimuli, when those are present in the designer's work environment. An empirical study revealed that the presence of visual stimuli of different kinds can affect performance, measured in terms of practicality, originality and creativity scores attained by designs developed by subjects under different conditions. The findings suggest that the effect of stimuli is contingent on the type of the design problem that is being solved.
Spatial Information Theory. Cognitive and Computational Foundations of Geographic Information Science, 1999
This paper describes some recent cognitively-based and computationally-based research on representing and reasoning about shapes. The cognitive studies are based on protocol analyses of designers and indicate that visual reasoning in design involves drawings of shapes and their relations in the generation of unexpected results. The computational studies are concerned with the development of qualitative representations of shapes that can be used to reason about shapes. Two representations are described: half-planes and ...