Environmental graphic design

About: Environmental graphic design is a research topic. Over the lifetime, 1203 publications have been published within this topic receiving 28863 citations.

Co-creation and the new landscapes of design

Abstract: Designers have been moving increasingly closer to the future users of what they design and the next new thing in the changing landscape of design research has become co-designing with your users. But co-designing is actually not new at all, having taken distinctly different paths in the US and in Europe. The evolution in design research from a user-centred approach to co-designing is changing the roles of the designer, the researcher and the person formerly known as the ‘user’. The implications of this shift for the education of designers and researchers are enormous. The evolution in design research from a user-centred approach to co-designing is changing the landscape of design practice as well, creating new domains of collective creativity. It is hoped that this evolution will support a transformation toward more sustainable ways of living in the future.

Designerly Ways of Knowing: Design Discipline Versus Design Science

Abstract: Design and Science I would like to begin this paper with a brief review of some of the historical concerns that have emerged with respect to the relationship between design and science. These concerns emerged strongly at two important periods in the modern history of design: in the 1920s, with a search for scientific design products, and in the 1960s, with a concern for scientific design process. The 40-year cycle in these concerns appears to be coming around again, and we might expect to see the reemergence of design-science concerns in the 2000s. A desire to “scientise” design can be traced back to ideas in the twentieth century modern movement of design. For example, in the early 1920s, the De Stijl protagonist, Theo van Doesburg, expressed his perception of a new spirit in art and design: “Our epoch is hostile to every subjective speculation in art, science, technology, etc. The new spirit, which already governs almost all modern life, is opposed to animal spontaneity, to nature’s domination, to artistic flummery. In order to construct a new object we need a method, that is to say, an objective system.” 1

Design Research: What We Learn When We Engage in Design

Abstract: Educational researchers are increasingly using design as a means of advancing their understanding Historically design in educational research has served as a way to implement theories for testing The emerging design research paradigm treats design as a strategy for developing and refining theories In this article, I discuss the lessons that can be learned from design Starting from a model that characterizes designs in terms of problem analyses, design solutions, and design processes, I describe 3 types of theories that can be developed through design research: domain theories, design frameworks, and design methodologies I present examples from a design research program investigating software supports for reflective inquiry I argue for design research as form of educational research because (a) design offers opportunities to learn unique lessons, (b) design research yields practical lessons that can be directly applied, and (c) design research engages researchers in the direct improvement of educatio

Design Thinking: Understanding How Designers Think and Work

Abstract: Design thinking is the core creative process for any designer; this book explores and explains this apparently mysterious "design ability." Focusing on what designers do when they design, Design Thinking is structured around a series of in-depth case studies of outstanding and expert designers, interwoven with overviews and analyses. The range covered reflects the breadth of design, from hardware and software design to architecture and Formula One. The book offers new insights into and understanding of design thinking, based on evidence from observation and investigation of design practice. Design Thinking is the distillation of the work of one of design's most influential scholars. Nigel Cross goes to the heart of what it means to think and work as a designer. The book is an ideal guide for anyone who wants to be a designer or to know how good designers work in the field of contemporary design.

Designing as reflective conversation with the materials of a design situation

Abstract: The paper considers what it means to capture design knowledge by embodying it in procedures that are expressible in a computer program, distinguishing several possible purposes for such an exercise. Following the lead of David Marr's computational approach to vision, emphasis is placed on 'phenomenological equivalence' — that is, first defining the functions of designing, and then specifying how people design. The paper goes on to describe design phenomena that a computational strategy of this kind would have to reproduce. All of them are integral to a view of designing as reflective conversation with the materials of a design situation, and depend on the idea of distinctive design worlds constructed by the designer. These phenomena include: the designer's seeing-moving-seeing, the construction of figures from marks on a page, the appreciation of design qualities, the evolution of design intentions in the course of the design process, the recognition of unintended consequences of move experiments, the storage and deployment of prototypes, which must be placed in transaction with the design situation, and communication across divergent design worlds. Considered as performance criteria for a phenomenologically equivalent computational designer, these phenomena are formidable and threatening. Considered as performance criteria for the construction of a computer-based design assistant, however, they may be highly evocative.