Download Designerly Ways of Knowing (Board of International Research by Nigel Cross PDF

By Nigel Cross

A revised and edited choice of key elements of Professor Cross’s released paintings, this booklet deals a timeline of scholarship and study over the process 25 years, and a source for knowing how designers imagine and paintings. assurance contains the character and nurture of layout skill; inventive cognition in layout; the average intelligence of layout; layout self-discipline as opposed to layout technological know-how; and services in layout.

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Extra resources for Designerly Ways of Knowing (Board of International Research in Design)

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Without writing, it can be difficult to explore and resolve our own thoughts; without drawing, it is difficult for designers to explore and resolve their thoughts. Like writing, drawing is more than simply an external memory aid; it enables and promotes the kinds of thinking that are relevant to the particular cognitive tasks of design thinking. We have seen, through considering the role of sketching in design, confirmation of the aspects of design thinking I identified earlier, such as the exploratory, opportunistic and reflective nature of design thinking.

In design, we do have examples of animals and insects that construct shelters and environments, and use and devise tools. We also have the long tradition of vernacular and craft design as a precursor to modern, innovative design ability. • Susceptibility to encoding in a symbol system. This criterion looks for a coherent, culturally-shared system of symbols which capture and communicate information relevant to the form of intelligence. Clearly, in design we have the use 24 Designerly Ways of Knowing of sketches, drawings and other models which constitute a coherent, symbolic media system for thinking and communicating.

They relatively quickly received answers to queries, which they accepted as reliable information). We also tried a few variations from the standard experiments. The most interesting was to reverse the normal set of expectations of the functions of the designer and the ‘computer’. The ‘computer’ was given the job of having to produce a design, to the satisfaction of the observing designer. It was immediately apparent that in this situation there was no stress on the designer – in fact, it became quite fun – and it was the ‘computer’ that found the experience to be hard work.

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