45 research outputs found

    Levels of expertise in design education

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    Design ability and differences between novice and expert designers have been quite extensively studied in the field of design methodology. For example, design expertise got much attention in the latest Design Thinking Research Symposium held in Australia. Little attention, however, is paid to the development from novice into expert. At this moment, there is no theoretical basis for explaining and understanding the kinds of transformations the design student has to go through, and there is no theoretical basis for identifying the degree of design expertise of a designer at a certain moment. Also, little is known about how to stimulate design expertise development. We propose to study the development of expertise in designing. This paper introduces a model of the development of design expertise, based on the general skill acquisition model of Dreyfus. Characteristics and limitations of the general model relevant for its\ud application to the field of design are discussed. We will try to match the levels of expertise as they are identified in the model with some empirical data, consisting of a set of self-evaluations of a design student. We could find some empirical basis for the model, but much more detailed empirical\ud investigations are needed to reflect on the basic assumptions of the model. We therefore introduce a wider research programme that eventually should result in a stable description of levels of design expertise, a description of the transitions to higher levels of design expertise, and in ways to support design expertise development

    Creativity in the design process: co-evolution of problem–solution

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    Empirical data on design processes were obtained from a set of protocol studies of nine experienced industrial designers, whose designs were evaluated on overall quality and on a variety of aspects including creativity. From the protocol data we identify aspects of creativity in design related to the formulation of the design problem and to the concept of originality. We also apply our observations to a model of creative design as the co-evolution of problem/solution spaces, and confirm the general validity of the model. We propose refinements to the co-evolution model, and suggest relevant new concepts of ‘default’ and ‘surprise’ problem/solution spaces

    Linkography: Unfolding the Design Process

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    Understanding design : reflections on being a designer

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    Frame Creation and Design in the Expanded Field

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    Design-trained people have access to a very broad range of professions. Yet there is something paradoxical about this development: ostensibly, many of these highly successful people have moved out of the field of “design.” This phenomenon deserves deeper consideration: how do design practices spread across society? What key design practices are particularly relevant to the problems of today's society? Should what these people do still be considered design? To answer these questions, first we need to understand various ways that practices can be adopted and adapted from one discipline to the other. Problem framing emerges as a key design practice that can be adopted and adapted to other fields, and one which provides a valuable alternative to conventional types of problem solving. An example will illustrate how this frame creation allows practitioners to approach today's open, complex, dynamic, networked problems in new and fruitful ways. The paper goes on to argue that the practice of frame creation is still part and parcel of the domain of design, and explores how design can develop into an expanded field of practice
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