Design as intentional action: a conceptual analysis

Galle, Per

doi:10.1016/s0142-694x(98)00021-0

Cited by 69 publications

(42 citation statements)

References 12 publications

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“…Typically, since the onset of the Industrial Revolution, however, the planning and designing of artefacts have been separated from the making of artefacts. The perspective of Galle (1999) is sympathetic to this view, as he argues that in the process of realising an artefact and embedding it in its context of use, there are several stages of planning involved. Thus, in moving from conception of a solution to realised artefact, there are stages of design representation or plans, including conceptual, logical and physical plans and models.…”

Section: Design As Planning (Modelling Representation Method)mentioning

confidence: 99%

“…The goal of design from this perspective is thus to take action and to produce change in human contexts (Willem 1990). Galle (1999) takes this notion a little further and calls for an expansion of the notion of design such that it embraces all human activities dedicated to both realising an artefact and embedding that artefact in a context of use in which it is met with approval and use (or not).…”

Section: Design As Process Actionmentioning

confidence: 99%

“…Willem (1990:45) argues that 'design occurs when the intention to design is present', suggesting that it is an intentional creative response to external events. Galle (1999) notes the potential complexity when, from this perspective of design, not only the designer's intentions but those of the problem owners and solution users become enmeshed in the design activity. This view of design puts the focus clearly onto the internal thought processes of the designer and how they can be guided by the intentions of the user of a design, and the context of use.…”

Section: Design As Intentionmentioning

confidence: 99%

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An exploration of the concept of design in information systems

McKay¹,

Marshall²,

Heath³

2010

Information Systems Foundations: The Role of Design Science

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This chapter explores the concepts of design and design science in a number of disciplines, including information systems (IS). The authors identify and explore various viewpoints or perspectives on design in a number of disciplines including management, engineering, architecture and product development. These perspectives include design as product, design as process or action, design as intention, design as planning including modelling, representation and method, design as communication, design as user experience, design as a value, design as professional practice and design as service. This broad and diverse set of perspectives is contrasted with what is identified and characterised by the authors as a limiting technological perspective of design adopted by the current extant papers in the mainstream IS journals. The chapter concludes with a call to broaden and further develop the concept of design, and hence design science, into an integrated holistic socio-technical view that includes the human social and organisational factors alongside the technical factors.

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Section: Design As Planning (Modelling Representation Method)mentioning

confidence: 99%

Section: Design As Process Actionmentioning

confidence: 99%

Section: Design As Intentionmentioning

confidence: 99%

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An exploration of the concept of design in information systems

McKay¹,

Marshall²,

Heath³

2010

Information Systems Foundations: The Role of Design Science

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“…"Representation as a self-communication medium allows the designer to reflect on his/her creations and to make revisions to his/her own ideas" (Cikis and Ek, 2010). On the other hand, drawing is also a means of obtaining knowledge about intended artefact, of probing into the consequences of tentative decisions about it, thereby providing a basis for rejection or approval of such decisions (Galle, 1999).…”

Section: Experience-based Versus Cognitive-based Learningmentioning

confidence: 99%

The Anatomy of a Multi-Sensory Design Course: Happy Sound Object

et al. 2017

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Abstract:Product experience encompasses all five sensory modalities through which information is received (Shifferstein and Desmet, 2008) therefore designing taking into account all the five senses is important. Besides, advances in technology make it easier to accomplish designing for five senses in many industries. On the other hand, particularly in the early years of undergraduate level industrial design education, sense of vision is often emphasized more compared to the other four senses. In order to underline the importance of the remaining senses, a unique studio course has been designed at Istanbul Medipol University, aiming second year industrial design students. In this particular studio course, in addition to their regular sketchbooks, students are expected to keep a dairy of sound, tactile, smell and taste. The course is designed in four modules and this paper elaborates on the details of Module I that focuses on the sense of hearing. Module I is interdisciplinary in the sense that a psychologist and a music composer/virtuoso have been invited to contribute to the classes so that designs can be treated at the visceral, behavioural and reflective levels (Norman, 2004) more profoundly. This paper aims to share the outcomes related to the 15 projects carried out during the course such that the advantages and the disadvantages of a multi-sensory design studio set up are revealed.

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“…When it is utilized for design exploration, on the other hand, representation is a means to answer various hypothetical questions. Galle (1999) describes drawing as 'a variety of obtaining knowledge about intended artefact, of probing into the consequences of tentative decisions about it, thereby providing a basis for rejection or approval of such decisions'. Thus, the other function of drawing comprises interpersonal communication.…”

Section: Functions Of Drawingmentioning

confidence: 99%

Conceptualization by Visual and Verbal Representations: An Experience in an Architectural Design Studio

Çıkış

2010

The Design Journal

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In current educational practices within the discipline of architecture, the systematic use of conceptualization within the design process has not yet been extensively developed and applied. Though utilizing concepts within the design process has been discussed hitherto by educators and scholars, the conventional education system in architectural design may prevent its proper application in the studio process. Furthermore, because conceptualization describes an activity that has peculiarly visual and verbal dimensions, the coordinated use of drawing and language The Design Journal 330Seniz Cikis and Fatma Ipek Ek + as the representation systems also refers to the main character of the design process. In these respects, by offering a systematic alternative for conceptualization within the design process, this study presents a new educational pattern. The study was implemented during the sixth semester of the architectural design studio and includes an examination of the relationships and functions of drawing and language as the very media of conceptualization within the discipline of architecture.

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Design as intentional action: a conceptual analysis

Cited by 69 publications

References 12 publications

An exploration of the concept of design in information systems

An exploration of the concept of design in information systems

The Anatomy of a Multi-Sensory Design Course: Happy Sound Object

Conceptualization by Visual and Verbal Representations: An Experience in an Architectural Design Studio

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