How Designers Think

Lawson, Bryan

doi:10.4324/9780080454979

Cited by 815 publications

(442 citation statements)

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“…However, several authors report that there is an "applicability gap" between the development of theoretical models and their contribution to design practice. (Hohmann & Langhorst, 2005;Kapper & Chenoweth, 2000;Lagro, 1999;Lawson, 1980;Milburn & Brown, 2003;Milburn et al, 2001). Hence, a contradiction might emerge between landscape "hailed" as a holistic planning tool and how the integration of landscape in spatial design operates in practice (Antonson, 2009;Macpherson, 2005).…”

Section: From Theory To Practicementioning

confidence: 99%

Landscape as a Medium for Integration in Design Practice: The Case of Flanders, Belgium

Damme

Leinfelder

Uyttenhove

2013

European Planning Studies

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The twenty-first century has seen a remarkable revival of interest in landscape by disciplines of spatial design, such as landscape architecture, urban design and architecture. Inspired by the principles of the European Landscape Convention (ELC), several authors have suggested extending the concept of landscape into a metaphor for inclusive multiplicity and pluralism in design and planning. However, the implementation of the ELC is rather complex as it deliberately contains no methodological or practical guidelines. In this paper, we explore whether or not the holistic approach towards landscape in the spirit of the ELC actually affects Flemish design in practice. To this end, we study interviewees' perspectives on the use of landscape in design and their experiences with it by means of a qualitative interpretive research design with multiple triangulation of data collection methods. First, we present the perspectives of the study on landscape as a medium to facilitate integration in design projects, by discussing four separate topics where this is the case. Second, we conceptualize the integration of landscape in spatial design as an expertise which can be obtained by spatial designers, regardless of their disciplinary background through awareness-raising, training and education.

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Section: From Theory To Practicementioning

confidence: 99%

Landscape as a Medium for Integration in Design Practice: The Case of Flanders, Belgium

Damme

Leinfelder

Uyttenhove

2013

European Planning Studies

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“…In architectural education, the studio is typically the locus of the experience although the extent to which it features can be quite diverse, from Total Studio curricula in which all learning is studio focused through to studio being limited as an engagement in only a few of the years of learning. In all cases, it is intended that studio exposes students to typically lengthy project based work on open ended problems, particularly ill formed and wicked problems (Churchman 1967); rapid iteration of design solutions (Lawson 1980); frequent formal and informal critique and juries (Anthony 1991); the use of precedent while engaging the parts and the whole (Lawson 1993); a creative engagement with constraints through reframing (Schön and Wiggins 1992) ; and the central importance of design media that examine the holistic problem from a number of representations (Schön 1992;Kvan, Wong et al 2000). The aspects of social, expert and data engagements underlie all aspects of studio teaching.…”

Section: Studio the Essential Contextmentioning

confidence: 99%

Creative Collaborations

Kramer¹,

Fask²

2016

Creative Collaborations Through Inclusive Theatre and Community Based Learning

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The teaching of design is typically an individual process. Theories of learning, imperatives of assessment and traditional teaching models set individual tasks that are intended to lead to individual submissions. With attitudes of training and instruction, the focus is typically on skill acquisition and demonstration of such skills through successful completion of project tasks. The context of studio teaching, however, is one that is immensely powerful and makes a substantial contribution to the intellectual approaches to comprehending our realities and, more importantly, our futures (1996). In this paper I will focus on three aspects of studio that warrant attention, among the many that demand it, especially as digital media and environments, beyond tools, are pervasive in design. This paper will consider the importance of studio education as the context for design education from the aspects of design as a social act, design as an expert act, design as an engagement of data.

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“…At the same time, a growing amount of "ill-defined" (Cross, 2006) and "wicked problems" (Rittel & Webber, 1973;Buchanan, 1992) is extending into a globalized context addressed by design and Design Thinking. In doing so, the latter is increasingly gaining importance and as described by Lucy Kimbell is establishing in three different ways (Kimbell, 2011, p. 297) by proposing "a cognitive style aiming at solving problems" (Cross, 2006;Lawson, 2005), "a general theory" (Buchanan, 1992) or as "an organizational resource for businesses and organizations looking for innovation" (Brown, 2009;Dunne & Martin, 2006). Eight years after its establishment, our MA curriculum in design is currently undergoing an important development in terms of its structure, main contents and goals.…”

Section: Introductionmentioning

confidence: 99%

The Y-Shaped Designer—Connective Competences as Key to Collaboration across Disciplines

Eckert¹

2017

JEL

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This paper reports on the re-development of our MA curriculum in design. Main objective of this development is a more practice-and project-based MA Curriculum that delivers connective competences for the collaboration across disciplines, rather than specializing in a specific design domain. For design education, we therefore propose a re-visited model of T-shaped skills by proposing the Y-shaped Designer, who acts in collaborations across disciplines thanks to a disciplinary root, a clearly perceived role and the ability to generate multimodal design outputs. The paper's discussion is based on a study of the current shift in the Swiss Creative Economy, an alumni survey, a literature review focusing undisciplinarity and a series of expert-workshops, that led to the identification of the required skills our graduates need to successfully connect with a globalizing creative economy. First results are a re-definition of the competences and learning goals targeted in the new curriculum, as well as a set of didactical approaches extending the curriculum to what is meant to become a real-world lab for MA students in design.

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How Designers Think

Cited by 815 publications

References 0 publications

Landscape as a Medium for Integration in Design Practice: The Case of Flanders, Belgium

Landscape as a Medium for Integration in Design Practice: The Case of Flanders, Belgium

Creative Collaborations

The Y-Shaped Designer—Connective Competences as Key to Collaboration across Disciplines

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