Design Cognition

Simple investigation on current publications in design Join-Studios reveals a lack of how such an evolutionary education pedagogical framework processes took place in Malaysia. Architectural education is based primarily around the design studio as a pivot and gathering point of all knowledge and skill accreted throughout the curriculum (Mostafa&Mostafa, 2010, p. 310). While the current design studio may represent the best teaching ideas for this profession yet they are not without problems. This Practical Research is hoping a Revitalization of Architectural Consciousness by introducing architectural Design Join-Studios towards sustainable architecture education; the aim is to improve our knowledge base and quality of architecture education. There is no simple answer or given approach to architectural pedagogy but a continuous routine framework, but the question is if architecture is supposed to solve the problems or even be more than that, does routine studies teach enough to our fu...

A battery of tests for assessing a number of cognitive skills relevant to conceptual design is being developed. Tests on divergent thinking (DT), visual thinking (VT), and qualitative reasoning (QR) are fully developed and validated. This paper focuses on the development of a test on the problem formulation (PF) skill. Indicators of problem formulation are identified and categorized as: insight, setting priorities, expanding, bounding, and structuring the design space. Unlike the previous tests which were developed and taken solely on pen and paper, this test can be developed with Problem Maps-data that is collected with the web-based Problem Formulator tool. A set of metrics for measuring skill levels are proposed with respect to which a class of graduate students have been graded. Candidate test items are discussed based on a number of design tasks which have been given to the students.

The education of architectural designers begins by learning drawing and digital modelling following the notion that students learn these new modes as instruments of thinking in design process. Curricular arguments persist about which mode should follow the other. Difficulties occur when one mode replaces the other. Students uninitiated to design seem to prefer the more immediate volumetric visualization of digital modelling over plans, sections, and elevations, representational views resulting from the un-real 'viewpoint' of the section-cut, a means only drawn out of reality through a way-of-looking NOT natural-to-experience. Therefore, the primary difficulty in learning to think through drawings is their abstraction from, rather than connection to, realness -a needless initiating ordeal that confuses rather than clarifies. Digital modelling offers virtual three-dimensional images that seem to students, by contrast, not quite as abstracted from natural experience, albeit framed by non-physical, seductive, machine 'otherness'. This paper proposes drawing pedagogy that learns from digital modelling by making connections rather than distinctions that more seamlessly connect abstract to actual. Projects will be demonstrated that manipulate three-dimensional forms to initiate drawing learning experiences. Drawing and its abstractions can thus more readily be drawn out of experience and made ultimately more concrete for design thinking.

The main aim of architectural educators is to foster students' design skills. Many researchers describe architectural design projects as a wicked problem that requires different tools to be solved. Metaphor and analogy are supposed to be helpful reasoning in solving architectural problems. This research query based on exploring students' skill, and aimed to extend other researchers' observations on applying analogy and metaphor through design process and the final product. An investigation was held using two groups of students in the first year of architectural design studio (Basic Design Course). The First group designed their project depending on metaphor reasoning; the second group depended on analogy reasoning. A comparison was shown assessing design process, students' skills and projects output. The research shows benefits verses the challenges and misconceptions which faced students through design process. Also, it pinpoints how metaphor and analogy can up-bring students' deign skills. Architectural education and practice is a continuous process of learning and experience. Ozsoy and Gokmen discussed the importance of gaining humanistic knowledge in architectural education in addition to the solving of technical problems. They pointed out that the main goal of education should involve ways of developing the student ability to synthesize, of evaluating the obtained data, improving the ability to conceive problems and to be trained with the ways of encountering problems with the help of the required tools and design skills (Ozsoyand Gokmen,2003). i The development of a design project or idea evidently requires more than just knowledge, definitions of clear limits between rational and irrational aspects, objective and subjective aspects, and logical and creative aspects should be established. The challenge in design, teaching and practicing, lies in balancing between these aspects . ii The transmission of architectural knowledge is conditioned by thorough and creative questioning and interpreting. Architectural education should develop students' capacity to question, select, interpret and connect information from various fields when confronted with a specific design problem (Radu,2003). iii This cannot be gained through memorization but the ways to learn about it can be taught through practicing . iv Architectural design project depends directly on the experience of the individual who develops it and, consequently, relies on his/ her knowledge and understanding of reality, jointly with the conception about possibilities of change, beside their understanding of what and how they are doing tactic (Wiggins,1989). v Many researchers discussed the importance of metaphor reasoning when applied in different engineering fields Casakin (2006), vi and analogy reasoning (Do and Gross, 1995), vii while hey with others discussed both (hey et al., 2008). viii Other researchers compared the work of novices and experts, in different engineering fields, when applying analogy reasoning (

dominant during early design work but precise notations dominate later problem solving). This empirical work is presented in , included here as Attachment 4. These accomplishments are important for several reasons. Cognitive science has made substantial progress in the study of well-structured or semantically rich problem solving. However, the study of ill-structured problem solving, such as design, has received less attention. Furthermore, approaches taken to design have concentrated on individual tasks, rather than characterizations that generalize across design tasks. Finally, there has been very little work that attempts to relate properties of external representations to different phases of problem solving. Our work suggests that we might be in a position to create an integrated framework that: " Provides middle-level nomothetic theory, allowing us to specify the universals of design across tasks and disciplines. Thus, the framework can be used to develop normative analyses and models across subjects. " Provides a precise framework and language for idiographic theory and analyses, allowing us to analyze individual cases of design. Thus, the framework can be used to develop descriptive analyses and models of individual subjects. * Provides computational theory, allowing us to guarantee that our models are sufficient to describe individual behavioral patterns. * Describes the role of external representations in problem solving. Although some recent work in cognition has begun to on this aspect of problem solving (e.g., Larkin & Simon, 1987) these have tended to focus on well-structured representations for well-structured problem solving tasks. Our focus has been on the generative role of representations in problem solving. Additional progress in the study of design could lead to progress in the study of other illstructured tasks, such as writing, strategic analysis, formulation and revision, and other. tasks usually thought to involve creativity and expertise. * When there is insufficient knowledge to directly implement the specifyinstructional-plan operator, an impasse occurs and the operator is implemented in its own specify-instructional-plan problem space. In order to specify the instructional plan, the plan is formulated and written using the operator fonnulminstructional-plan. * If the fonnulae-instructional-plan operator hits an impasse, it is implemented in its own problem-spaces. The formulate-instrctiona-plan space involves operators that specify the instructional objectives, the target population, the task and content analysis, and the subplans for the individual instructional sessions. Each of these areas is a module, as discussed earlier. * The task and content analyses are carried out by an analysis of the Viewpoint manual table of contents. An analyze-contents space carries out the task of reading through the hierarchical table of contents, elaborating and evaluating each item, and deciding whether to include the item in the instruction.

The design process has evolved with the inclusion of technology, affecting the creative process. Digital media tools have become for design studios and educational facilities a setting for idea representation, development and communication within the design process. The evolution of digital media tools has shifted from two-dimensional applications to more diverse and flexible threedimensional scenarios. The inclusion of parameters as modelling attributes give designers new possibilities by which they can enhance their creativity and idea generation processes. The purpose of this study was to identify unexpected discoveries as milestones for creativity within two digital media tools; Geometric Modelling Environments (GME) and Parametric Design Environments (PDE). A protocol analysis study was conducted between the two digital environments to comprehend the design process. The level of creativeness of each design outcome was contrasted with the digital environment used.

In this paper I frame the totalizing dominance of performativity in educational arenas in terms of its effects on professional thinking and attitudes. The problem is that the education professional's cognition ends up artificially obsessed with defined performance indicators and closed by default to the fluidity that should accompany reflective design practice. To mitigate this state of affairs, I propose that educators be encouraged to playfully consider non-performative goals, and that institutions can even welcome insincere or experimental consideration of non-performative educational goals. Such solutions may also correct excessively performative cultures outside educational contexts.

Although there has been significant research into approaches to teaching in higher education, comparatively little is known about university teachers' approaches to design. This paper presents preliminary findings from a study that is investigating the design processes of Australian university academics across disciplines in the Arts, the Sciences and the Professions. A summary of the design processes of two Australian university teachers in the Sciences is presented. The purpose of this paper is to provide a brief ...

The education of architectural designers begins by learning drawing and digital modelling following the notion that students learn these new modes as instruments of thinking in design process. Curricular arguments persist about which mode should follow the other. Difficulties occur when one mode replaces the other. Students uninitiated to design seem to prefer the more immediate volumetric visualization of digital modelling over plans, sections, and elevations, representational views resulting from the un-real ‘viewpoint’ of the section-cut, a means only drawn out of reality through a way-of-looking NOT natural-to-experience. Therefore, the primary difficulty in learning to think through drawings is their abstraction from, rather than connection to, realness – a needless initiating ordeal that confuses rather than clarifies. Digital modelling offers virtual three-dimensional images that seem to students, by contrast, not quite as abstracted from natural experience, albeit framed by ...

Immersive Virtual Reality (iVR) systems hold a promise to affect design behavior by allowing users to experience presence, as they are embodied in the digital display. However, the lack of research articulating how embodiment enabling media change design behavior limits integrating iVR systems in design pedagogy with a well-defined framework. This paper presents the preliminary results from a case study of a work in progress comparing the communication patterns of critique sessions in an architecture studio in two kinds of media: iVR and non-immersive desk-crits. We employed protocol analysis methods to track the distribution of conversational turns and the first occurrence of design issues emerging over the different media. Results show that compared to non-immersive critiques, the iVR had a lower number of conversational turns and an increase in the first occurrence generated by students, indicating support in a learner-centered activity. Elucidating the effect of the communication medium on design behavior provides an empirical foundation for its inclusion in a design theory that encapsulates embodied cognition.

This paper tests the hypothesis that the design cognition of high school students who have taken preengineering courses will be different to those who have not. The test is based on analysing and comparing two sets of design protocol studies for the respective groups of students. All design protocols are coded uniformly using the Function-Behaviour-Structure (FBS) ontology. The analysis in this paper focuses on three aspects: design issue distributions, cumulative design issues and cumulative design processes. The results show that there is no statistical support for the hypothesis that differences exist between the pre-engineering and non-engineering student groups. These unexpected results potentially have profound implications for high school pre-engineering education.

This paper presents an approach to understanding designing that includes societal effects. We use a multi-agent system to simulate the interactions between two types of agents, those that produce designs and those that receive the designs proposed by the producers. Interactions occur when receiver agents give their opinion to the producers on the designs they produced. Based on this information some producers may choose to adopt knowledge from other producers and some receivers may choose to adopt knowledge from other receivers. As a result of this exchange of knowledge global behaviors emerge in the society of agents. We provide the results of preliminary experiments with the model in which we measure variations in the producers' successes, which allows us to observe and analyze some of these emergent behaviors under different knowledge transfer scenarios.

Tekstil ürünleri, tarih boyunca estetik ve işlevsellikleriyle hayatın pek çok alanında kullanılmaktadır.
Geçmişte, temel ihtiyaçlar olan ısınma ve barınma amacıyla kullanılan basit tekniklerle
gerçekleştirilen tekstil üretimi, günümüzde teknolojik gelişmelerden doğrudan etkilenmektedir.
Bu gelişmeler, üretim, tasarım, teknik ve uygulama yöntemlerini şekillendirirken,
tasarımcılar sanat, tasarım ve teknolojiyi yaratıcı bir bakış açısıyla birleştirerek güncel eğilimleri
yansıtan baskı ve desen tasarımları üretmektedir. Baskı tasarımı, yetenek, yaratıcılık ve teknik
bilgi gerektiren dinamik bir alandır. Uygulanan baskı teknikleri, kullanılan kumaş ve yöntemlere
göre değişiklik göstermektedir. Bu farklılıklar, baskının dijital ortamda tasarımı, baskıya
hazırlama, renklendirme, varyant oluşturma ve ölçülendirme işlemlerini doğrudan etkilemektedir.
Ayrıca, tasarımcının yaratıcı süreci ve numune aşamasını yönlendiren zaman ve maliyet
faktörleri de sürecin yönetiminde etkilidir. Bu bağlamda, tekstil üretim aşamaları ve tasarımcıların
karşılaştığı problemler, tasarımcının teknik bilgi, deneyim ve hızlı çözüm bulma yeteneği
ile doğrudan ilişkilidir. Tasarım; doğru zamanda, uygun teknik ve yöntemlerle, doğru malzeme
üzerine uygulanmış, güncel eğilimlere yanıt veren ve hatasız bileşenlerden oluşan yeni bir fikirdir.
Tasarımcının teknik bilgi ve zaman yönetiminin yanı sıra malzeme bilgisini geliştirmesi
de baskı tasarımında önem taşımaktadır. Uygulanan baskı yöntemi, kullanılan malzemeye göre
farklılık göstermekte olup, bu süreci yöneten kişi baskı tasarımcısıdır. Çalışmanın amacı, tekstil
baskı tasarım sürecinin her aşaması ayrıntılı ele alınarak, baskı tasarımcısının tasarım ve prototip
geliştirme aşamalarında karşılaşabileceği problemleri nasıl yönetebileceğini açıklamaktır.
Çalışmada, baskı tasarımının uygulanmasında kullanılan baskı teknikleri ve stilleri açıklanırken,
sürecin şekillenmesini sağlayan, araştırma, ilham kaynakları, yaratıcılık ve dijital uygulamalar
gibi çeşitli disiplinlerle etkileşimi örnek görsellerle detaylı olarak ele alınmıştır. Ayrıca,
baskının istenilen renk, teknik ve ölçülerde uygulanmasında baskı yöntemlerinin doğrudan
etkisi ayrıntılı bir şekilde açıklanmıştır. Tasarımcı perspektifinden baskı tasarımında karşılaşabilecek
sorunlara karşı getirilen çözüm önerileri detaylı ve özgün çalışmalarla örneklenmiştir.

The overall objectives of the study are to identify key components of ideation methods and develop effectiveness metrics. This paper presents experimental results conducted on six ideation components (Provocative Stimuli, Suspend Judgment, Flexible Representation, Frame of Reference Shifting, Incubation, and Example Exposure). These experiments were conducted simultaneously at the Design (engineering) and Lab (cognitive psychology) levels following an experimental procedure previously developed to align these two levels of experiments. Results show the effectiveness of the ideation components in terms of effectiveness metrics and also the extent of alignment of the results from these two levels. Understanding of ideation components has been gained (main effects ease of manipulation and interactions).

Studios. This ability gained through visual design thinking. The spatial experience honed by three dimensional thinking from the medium diversity. The spatial experience learned through a room layout, proportion, and composition. This research used an experimental method and the primary data obtained by a “Likert” scale questionnaire. The Respondents are 50 students of the Architectural Design Studio. Moreover, the analysis focuses on the VR for spatial experience. The result was a descriptive explanation of the effectiveness of Virtual Reality for a spatial experience of architecture students at Technology University of Yogyakarta.

To follow the historic evolution of the academies of art see Pevsner (1940). In relation to the transmission of architecture through history, the importance of trade in the learning process, and of learning the technique and material to design from the constructive logics, see Boullée & Pérouse de Montclos (1968). For further information about the history of architectural education see ; Goleman (1992); Skinner (1970); Stenberg and Wagner (1986). LAURA LIZONDO-SEVILLA; B.Arch. PhD. Received her B.Arch. from Universitat Politècnica de València in 2003. Visiting scholar in GSAPP, Columbia University in 2011 and Central Saint Martins, UAL in 2015. Earned her PhD. degree in architecture from the UPV in 2012. Currently works as an Assistant Professor at UPV and Editor in Chief of En Blanco. Revista de Arquitectura. Major research in Mies van der Rohe's Architecture and Plateglass Universities.

Understanding the cognitive processes that occur when designing with computational tools and methodologies is crucial as these new contemporary means of design will eventually be changing our designerly ways of thinking, necessitating a fresh look at design education to incorporate these evolving practices. From this point of view, this study aims to discuss generative design techniques in terms of design cognition. To do so, five generative systems that are commonly used in design disciplines are reviewed as Shape Grammars, Lindenmayer Systems, Cellular Automata, Agent-Based Systems, and Genetic Algorithms. The study explains the rules of each generative system, how they generate design alternatives, and how design domains utilize these systems based on the literature. The two main traditional approaches in the field of design cognition are focused in the paper as: design as a reflective practice and design as a problemsolving activity. Then, the study contemplates on the cognitive processes from the early stages of designing with generative systems to its end. Finally, an integrated cognitive approach regarding the use of generative systems in design exploration is proposed in the study as: design as a reflective problem-solving activity. In contrast to common uses of generative systems as result-oriented systems, this approach emphasizes these systems' potential in the early phases of design exploration; hence, highlights their potential in design practice and education.

This paper presents the preliminary results of comparing the design cognition of concept design review conversations of two product design disciplines: industrial design and mechanical engineering design. The comparison is based on a protocol analysis of two concept design review cases using the FBS ontologically-based coding scheme. Interdisciplinary differences of concept design review were first examined in terms of each review session's focus of cognitive effort expended on reasoning about design problem or design solution. Both review sessions were largely solution-focused, but the industrial design session is relatively more focused on reasoning about the design problem than the mechanical engineering design session. This matches previous findings from cognitive studies into designing processes. When examining the dynamic design cognition, the overall dynamic patterns of concept design review sessions were mainly consistent with the commonalities found in a variety of designing processes, using the measurement of cumulative occurrences of design issues. However, each individual review session's cognitive focus on either reasoning about design problem or solution appeared as constant throughout the review conversations. This implies that concept design review sessions are different from designing sessions. Previous studies into designing processes showed that designers became less focused on the design problem and more engaged in the design solution as designing progressed.

This paper presents the preliminary results of comparing the design cognition of concept design review conversations of two product design disciplines: industrial design and mechanical engineering design. The comparison is based on a protocol analysis of two concept design review cases using the FBS ontologically-based coding scheme. Interdisciplinary differences of concept design review were first examined in terms of each review session's focus of cognitive effort expended on reasoning about design problem or design solution. Both review sessions were largely solution-focused, but the industrial design session is relatively more focused on reasoning about the design problem than the mechanical engineering design session. This matches previous findings from cognitive studies into designing processes. When examining the dynamic design cognition, the overall dynamic patterns of concept design review sessions were mainly consistent with the commonalities found in a variety of designing processes, using the measurement of cumulative occurrences of design issues. However, each individual review session's cognitive focus on either reasoning about design problem or solution appeared as constant throughout the review conversations. This implies that concept design review sessions are different from designing sessions. Previous studies into designing processes showed that designers became less focused on the design problem and more engaged in the design solution as designing progressed.

This paper presents the preliminary results of comparing the design cognition of concept design review conversations of two product design disciplines: industrial design and mechanical engineering design. The comparison is based on a protocol analysis of two concept design review cases using the FBS ontologically-based coding scheme. Interdisciplinary differences of concept design review were first examined in terms of each review session's focus of cognitive effort expended on reasoning about design problem or design solution. Both review sessions were largely solution-focused, but the industrial design session is relatively more focused on reasoning about the design problem than the mechanical engineering design session. This matches previous findings from cognitive studies into designing processes. When examining the dynamic design cognition, the overall dynamic patterns of concept design review sessions were mainly consistent with the commonalities found in a variety of designing processes, using the measurement of cumulative occurrences of design issues. However, each individual review session's cognitive focus on either reasoning about design problem or solution appeared as constant throughout the review conversations. This implies that concept design review sessions are different from designing sessions. Previous studies into designing processes showed that designers became less focused on the design problem and more engaged in the design solution as designing progressed.

Analysis of results of design protocols of novice and expert designers, although based on a limited number of designers, has shown that there are differences in the balance of cognitive actions between them. In this paper, we investigate the possible reasons for this imbalance in cognitive activity between the novice and expert designers in the rate of information processing driven by their relative experience in drawing production and sketch recognition. We use the theory of mental imagery to explain these differences.

Analysis of results of design protocols of novice and expert designers, although based on a limited number of designers, has shown that there are differences in the balance of cognitive actions between them. In this paper, we investigate the possible reasons for this imbalance in cognitive activity between the novice and expert designers in the rate of information processing driven by their relative experience in drawing production and sketch recognition. We use the theory of mental imagery to explain these differences.

This paper proposes an ontological model of Donald Schön's notion of reflection in the domain of designing. We address two views of this notion. First, we present a functional view that describes reflection in terms of the designer's interactions with the design object and their intended and unintended consequences that then drive further interactions. Second, we present a constructional view that models reflection as a mechanism with a set of properties that distinguish it from other processes in designing. We describe both views using the function-behaviour-structure (FBS) ontology. This elaborates existing accounts of reflection and locates it within a uniform framework of designing, which lays the foundations for a multi-disciplinary approach to studying reflection.

This paper proposes an ontological model of Donald Schön's notion of reflection in the domain of designing. We address two views of this notion. First, we present a functional view that describes reflection in terms of the designer's interactions with the design object and their intended and unintended consequences that then drive further interactions. Second, we present a constructional view that models reflection as a mechanism with a set of properties that distinguish it from other processes in designing. We describe both views using the function-behaviour-structure (FBS) ontology. This elaborates existing accounts of reflection and locates it within a uniform framework of designing, which lays the foundations for a multi-disciplinary approach to studying reflection.

This paper commences by outlining notions of creativity before examining the role of emergence in creative design. Various process models of emergence are presented; these are based on notions of additive and substitutive variables resulting in additive and substitutive schemas. Frameworks for both representation and process for a computational model of creative design are presented. The representational framework is based on design prototypes whilst the process framework is based on an evolutionary model. The computational model brings both representation and process together.

This paper describes generate and explore as a paradigm for models of computational creativity. It describes the difference between search within a conceptual space and exploration in changing conceptual spaces. Three types of exploration are described and existing examples of them are presented. It describes generate and explore as a potential basis for generating utility, novelty and surprise in models of computational creativity. The paper identifies the role of interpretation in creative systems and ways that it can lead to exploration.

How do scientists think, reason and generate new models and theories? How do scientists represent their knowledge? Answers to these questions are of paramount importance not only in understanding what science is, but also in assessing different theories of science. Surprisingly, we know little about the basic processes that are involved in current-day scientific thinking. The goal of my research is to look at what scientists actually do in their research, what types of thinking and reasoning strategies they use, and how they change their knowledge. Over the past decade, I have been investigating scientific thinking by scientists in their own labs, reasoning about their research and by conducting experiments on scientific thinking and model building in my own laboratory. The labs that I have been investigating are molecular biology and immunology laboratories in the U.S., Canada, and Italy. I have found that one place where much reasoning and new discoveries are made is at weekly lab meetings. We have performed extensive cognitive analyses of these meetings and have identified some of the key components of contemporary scientific thinking that are important in generating new models, modifying old models and solving difficult problems. In this paper I will outline four activities that are important in model building: Analogical Reasoning, Attention to Unexpected findings, Experimental Design, and Distributed Reasoning.

Understanding the cognitive processes that occur when designing with computational tools and methodologies is crucial as these new contemporary means of design will eventually be changing our designerly ways of thinking, necessitating a fresh look at design education to incorporate these evolving practices. From this point of view, this study aims to discuss generative design techniques in terms of design cognition. To do so, five generative systems that are commonly used in design disciplines are reviewed as Shape Grammars, Lindenmayer Systems, Cellular Automata, Agent-Based Systems, and Genetic Algorithms. The study explains the rules of each generative system, how they generate design alternatives, and how design domains utilize these systems based on the literature. The two main traditional approaches in the field of design cognition are focused in the paper as: design as a reflective practice and design as a problem-solving activity. Then, the study contemplates on the cognitive processes from the early stages of designing with generative systems to its end. Finally, an integrated cognitive approach regarding the use of generative systems in design exploration is proposed in the study as: design as a reflective problem-solving activity. In contrast to common uses of generative systems as result-oriented systems, this approach emphasizes these systems’ potential in the early phases of design exploration; hence, it highlights their potential in design practice and education.

Biologically inspired design is one of the most important movements in contemporary engineering design. The paradigm entails the use of biological systems as sources of ideas for the design of technological products. Thus, the paradigm, by definition, is based on cross-domain analogies. The movement is pulled by the growing need for sustainable development and pushed by the desire for creative design of innovative products. The design of wind turbine blades analogous to the tubercles on the fins of humpback whales is an illustrative example. Despite its many successes, the practice of biologically inspired design remains ad hoc, with little systematization of either the design processes or of biological knowledge from a design perspective. Transformation of biologically inspired design into a principled design methodology requires the development of computational models, methods and tools. In the other direction, biologically inspired design provides a rich context for developing new computational theories of design, analogy and creativity. To develop computational models and methods for biologically inspired design, we started with in situ cognitive studies of its practice. The results of these studies contained a surprise. While most design starts with a problem --problem-driven design --biologically inspired design often uses biological designs as analogues to identify and evolve design problems. We call this solution-based design. The goal of my Ph.D. work is to develop computational methods and tools for solution-based problem evolution and inception in biologically inspired design. My thesis is that solution-based problem evolution and inception emerge out of the interaction of three core elements: 1) knowledge schemas that designers use to represent design problems and solutions, 2) goal-based information processes for evolving design problems, and 3) performance-based information processes for generating new problems. I will evaluate this thesis through detailed analyses of case studies of biologically inspired design, as well as through development of interactive tools for aiding problem inception and evolution. I will assess the interactive tools by deploying them in Georgia Tech classes on biologically inspired design. I expect my thesis to make two main contributions. On one hand, it will develop computational methods and tools for solution-based biologically inspired design. On the other, it will build computational models of solution-based creative analogies.

Deciding how best to combine good learning tasks and appropriately supportive technology is becoming increasingly complicated. Teachers in higher education are struggling with rising expectations about graduate capabilities, a diversifying intake, increasing pressure on time and a dizzying proliferation of technology options. One response we are seeing is a strengthening interest in taking a more design-based approach to tackling what many would see as 'wicked problems'(Luckin, 2010; Hoadley, 2010; Goodyear & Retalis, 2010). This ...

This paper argues the case for conducting theoretically well-grounded empirical research into teachers' design activities, including their design thinking, as a strategically important complement to practical development work in the field of learning design. We identify some issues arising from two related lines of empirical research in which we have been engaged–drawing attention to the importance of context in design cognition. We also introduce a conception of teachers' personal pedagogical knowledge as 'knowledge in ...

This article offers a reflective and candid exploration of the dynamics and challenges of technical design reviews in architectural education. Drawing on personal experience as a reviewer, it examines key aspects such as the impact of "skin in the game," the role of micro-lecturing, the commodification of design methods, the influence of social dynamics and connivance within design teams, and the omnipresence of repetition in review processes. The discussion situates these phenomena within broader theoretical frameworks, linking them to cognitive science, educational theory, and design methodology. The article argues that while praise, repetition, and tailored methods can enhance the learning process, they also risk constraining creativity and limiting disruptive exploration. Ultimately, it highlights the tension between the pedagogical goals of fostering professional intuition and the performative aspects of teaching and reviewing, inviting readers to reconsider the balance between process and outcome in design education.

Increasingly digital products and services make cybersecurity a crucial issue for designers. However, human-centered designers struggle to consider it in their work, partially a consequence of the high psychological distance between designers and cybersecurity. In this work, we build on the Design for Cybersecurity (DfC) Cards, an intervention to help designers consider cybersecurity, and examine a project-based design course to understand how and why specific DfC cards were used. Three findings result. First, designers found the intervention useful across all design phases and activities. Second, the cards helped design teams refocus their attention on the problem domain and project outcome. Third, we identify a need for support in framing and converging during user research, opportunity identification, and prototyping. We argue that the psychological distance between designers and the problem space of cybersecurity partially explains these findings, and ultimately exacerbates existing challenges in the design process. These findings suggest that design interventions must consider the psychological distance between designer and problem space, and have application in design practice across many complex problem domains.

Today research has come far in explaining distinct aspects of design expertise at different skill levels. However, with the increasing number of studies, we argue there is a need to assimilate present knowledge. In this paper we advance the field of design expertise by conducting a structured literature review. Through a systematic search of papers, from 1970 to today, we identify 110 papers concerning design expertise. We then analyze the accumulated research, and map how design expertise research has evolved, in terms of what we know and what remains unexplored. Through the review, we contribute with a distinction of skills acquisition at increasing levels of design expertise.

Today, the topic of design expertise is widely discussed in the design research community by scholars from various disciplines, such as industrial design, architecture, or engineering design. While much of the
literature holds examples of educators or researchers who study design expertise within the boundaries of a specific field, we argue that it is important to understand the similarities as well as the differences between
the interrelated, but distinct fields of design, to deepen both the general and domain-specific understanding and further design educations. In this study we adopt principles from the structured literature review (SLR) to
assimilate a large scholarly body of literature on the topic of design expertise a dataset of 117 sources, we identified three distinct contributors to the field of design expertise (architecture, engineering, and industrial
design) and within these, 11 key themes were identified as important for developing design expertise. While all three domains shared a common use of reference to all themes, they differed in having their own distinct
thematic emphasis. Based on our findings we propose three types of domain-dependent orientations within studies on design expertise.

The aim of this paper is to explore different aspects of information-related activities in product development teams. To enable analysis of information behaviour at lower level of process granularity and to allow longer data collection with several participants, work sampling self-reporting approach was selected as an appropriate one for data collection. After analysis of processes in two case companies, results demonstrated diversity and frequency of information-related activities within different product development contexts, but also indicated differences in individual information behaviour.

Learning in architecture has shifted from an individual focused approach to a larger system of interacting individuals in a situated, tool-mediated and socio-technical context. In addition to developing essential skills to work with diverse design software and taking part in collaborative design activities, learners also need to be equipped with competencies that will allow them to operate intelligently outside of situations of distributed cognitions. The challenge in present educational climate is to develop pedagogical approaches where situations of distributed cognition are not the ends themselves but are the means for improving mastery of solo competencies. The paper contributes to the current discussion about the need to reorient architectural education and proposes a pedagogical framework for the development of a new web-based teaching/ learning environment (socio-cognitive ecosystem) as an integrated platform to support both autonomous and distributed learning.

This paper presents the results of measuring and comparing design cognition while using different creativity techniques for concept generation in collaborative engineering design settings. Eleven design teams, each consisted of two senior mechanical engineering students, were given the same two design tasks, respectively using an unstructured concept generation technique (brainstorming) and a structured technique (TRIZ). A protocol analysis was carried out where the designing activities were audiovisually recorded and analysed using the FBS ontologically-based coding scheme. Preliminary results indicate that the students' design cognition differed when designing with different concept generation creativity techniques. The inter-technique differences were mainly noticeable in the early stages of designing. Specifically, designers tend to focus more on problem-related aspects of designing, i.e., design goals and requirements, when using the structured technique of TRIZ. Alternatively, when using the unstructured technique of brainstorming, designers focused more on solution-related aspects of designing, i.e., a solution's structure and behaviour.

Design fixation is a phenomenon with important significance to many fields of design due to the potential negative impacts it may have in design outcomes, especially during the ideation stage of the design process. The present study aims to provide a framework for understanding, or at least probing, design fixation by presenting a review of existing defixation approaches, as well as metrics that have been employed to understand and account for design fixation. This study also describes the results of two design by analogy (DbA) methods, WordTree and SCAMPER, to overcome design fixation in an experiment that involved 97 knowledge-domain experts. The study outcomes are at least twofold: a common framework of metrics and approaches to overcome design fixation in a wide range of design problems and nonintuitive results for DbA approaches in design fixation and other related creativity metrics. The application of WordTree and SCAMPER shows that both methods yield increased novelty compar...

is the most diversely experienced golf architect in the business. Since 1966, he has been involved with planning, design, construction and maintenance of golf courses in about 60 countries.) Golf courses experience evolution, alteration, maturation and aging just as all other living things do. Having the benefit of almost 35 years as a golf architect and observing some courses for 25 years or longer, it is quite easy to notice the incremental, and at times, profound changes that time induces. The alterations I refer to are natural and evolutionary. Golf course maintenance crews cause and enhance alteration. Technology advances have accelerated change. Plant physiology, human genetics, nutrition, television and golf publications have expedited the demand or need for alteration. the focus of this article is on those alterations that are more or less naturally occurring as distinguished from green committee action or periodic remodeling for design sake. Green creep is a catchall phrase I use to describe the inevitable alterations which emerge on every course. The rate of emergence, the frequency and the extent are variable in response to the type of course, location, climate, turfgrass varieties, soil conditions, original design and construction methods, intensity of and quality of maintenance, volume of play and financial strength of the owner or operator of the golf course, Alterations can occur faster with tropical and warm weather grasses than with cool season or northern climate grasses. Green creep begins to emerge as maintenance commences on a new course. However, it increases in prominence the older the course is. Green creep is part of the aging process of almost every course, everywhere. There really is no easy way to avoid some component of green creep. That green creep is so prevalent and yet so unnoticed is due to the almost glacial rate of occurrence. At its most basic, green creep is altered shapes and sizes of putting surfaces, the repositioning of bunker edges and altered tee surfaces due to insidious, little by little, mowing changes and sand edging practices. These changes can become several to many feet of distance over time. Maintenance personnel keep their jobs by not killing the grass. As the person mowing the putting surfaces does the job, each day a little uncut collar is left to prevent scalping. The person mowing tends to cut inside yesterday's cut. Concurrently, straighter lines or more rounded lines of cut emerge over time. The putting green surface becomes

Problem statement: Ambiguous drawings play a significant role in design education, and it has been extensively studied in previous literature. The present research seeks to explore the effects of design tasks on using ambiguous drawings.
Research objective: The purpose of research is to enhance idea generation in students, especially novice students (second-year students) through the assistance of design tasks.
Research method: In this experimental study, second-year architecture students engaged in three design sessions, each with distinct tasks and instructions involving ambiguous drawings. In the first session, ambiguous drawings were used as a source of inspiration, in the second as a design solution, and in the third, those drawings were incorporated to serve as a part of the design solution. Design ideas from the students were assessed by three judges, and scores related to novelty and quality were subjected to statistical analysis using the analysis of variance. The study’s findings were then compared and analyzed in the context of existing research.
Conclusion: The results of the study demonstrated that the use of ambiguous drawings in design tasks led to an improvement in the quality of design ideas among students. This positive impact was particularly notable in relation to enhancing the functional aspects of design ideas and convergent thinking. It also extended the results of previous research, especially in terms of the effectiveness of ambiguous drawings on the ideation of novice students. Additionally, the influence of the design tasks, along with other factors, on the ideation of students when using ambiguous images was deeply explored and discussed.

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 Users may download and print one copy of any publication from the public portal for the purpose of private study or research.  You may not further distribute the material or use it for any profit-making activity or commercial gain  You may freely distribute the URL identifying the publication in the public portal If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim.

 Users may download and print one copy of any publication from the public portal for the purpose of private study or research.  You may not further distribute the material or use it for any profit-making activity or commercial gain  You may freely distribute the URL identifying the publication in the public portal If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim.

 Users may download and print one copy of any publication from the public portal for the purpose of private study or research.  You may not further distribute the material or use it for any profit-making activity or commercial gain  You may freely distribute the URL identifying the publication in the public portal If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim.

Problem Statement: In design methodology studies, it has been assumed that designing is a unique cognitive action that is used in various professional fields. The generality of this matter is not rejected, but after nearly seventy years of design methodology studies and relying on common general knowledge of design, we can now address the question: What are the differences in design methods in various fields? And what is the reason for these differences?
Research Question: More specifically, this research has limited the research problem to comparing the design method used in product design and architectural design and raised the following question: “What are the differences in design method in the fields of product design and architectural design?” To find the answer, this preliminary question had to be answered: What is the design method in product design and architectural design?
Research Objective: To find the methodological differences between the process of product design and architectural design.
Research Method: According to the criticism that was accomplished in the literature review regarding the problem and experiment method of similar research, this research method is a qualitative case study, and in terms of method, it is an experimental-descriptive one. Experiments and unstructured interviews were conducted to collect information, and the grounded theory method (GTM) was used to refine and classify the information. The theoretical framework of this research is design methodology with the approach of “design cognition”.
Conclusion: After collecting the data through testing and categorizing it, there have been discussions on the findings that showed seventeen general cases. In conclusion, it can be said that the method in product design is similar to the method in architectural design in some dimensions, but in others, these two groups have evidently different behaviors. In the common aspects, the inherent dimensions and nature of the design can be seen, but in the different aspects, the role of the environment and education is evident.