Representations and modelling[ edit ] Conventionally, designers communicate mostly in visual or object languages to translate abstract requirements into concrete objects. The use of representations and models is closely associated with features of design thinking such as the generation and exploration of tentative solution concepts, the identification of what needs to be known about the developing concept, and the recognition of emergent features and properties within the representations. This understanding can be documented in a brief which includes constraints that gives the project team a framework from which to begin, benchmarks by which they can measure progress, and a set of objectives to be realized—such as price point , available technology, and market segment. Empathic design transcends physical ergonomics to include understanding the psychological and emotional needs of people—the way they do things, why and how they think and feel about the world, and what is meaningful to them. Ideation: Divergent and convergent thinking[ edit ] Ideation is idea generation. The process is characterized by the alternation of divergent and convergent thinking , typical of design thinking process.
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Start your review of How Designers Think Write a review Shelves: owned , spacing Designers of any discipline consistently struggle to define their process: a way to break down the challenges posed, question them, and develop solutions, accordingly. Each profession will tackle this goal differently, and within their given subset of design, will take a different path to their ultimate product: an exercise that brings us the variety of fascinating designs we see us today from architecture to coffee makers.
The mystery around the design process has intrigued many people for years and in How Designers Think: The Design Process Demystified, Bryan Lawson goes far beyond attempting to simply map this process out.
This book is an inescapable climb into the psyche of a designer, to probe the depths of how they solve problems, and discover methods which work better than others. The book is laid out in three Parts, with several sub-sections. Part one asks the question, What is Design? This is followed by Problems and Solutions, that focused more specifically on actual challenges a designer faces in day-to-day work.
The final Part, Design Thinking, highlights creative thinking in general, looking at tactics and traps which designers face. The book is logically sound, laid out in arguably one of the only possible ways to clearly allow the reader to go beyond simple understanding of the concepts and see methods of implication based on a solidly rooted scientific, psychological, and philosophical foundation.
As one would expect, Lawson speaks highly of designers and their seemingly nebulous way of thinking. There is a constant reference to the fact that designers must finely balance scientific and analytical thinking with concerns around beauty and aesthetics. A tough task. This ultimately leads to haphazard design solutions. The practice of balancing parallel thought processes—analytical and aesthetic, theoretical and practical—is the essence of the design process and one of its most empowering aspects.
If this mode of thinking were encouraged more frequently, designers could contribute much more positively to the world today. While some may feel that there is a pecking order of respect for certain professions over another, Lawson reveals that this is beside the point when discussing thought processes. There is no set path to beautiful design, and as designers we are always moving forward, looking for the next problem to solve.
Lawson reminds us, however, that taking the time to engage the issues comprehensively leads to more well-rounded, and ultimately better finished products. As such, developing a solid set of foundation skills and methods are of the utmost importance, permeating into other work and yielding stronger results.
How Designers Think: The Design Process Demystified is a definite read for anyone in the design profession, and in my humble opinion, should be mandated as a required reading in all design-related classrooms. I was introduced to many famous designers in this book and now have real people to research should I pursue this further. The insight into the designers minds was inspiring and thought-provoking. Cons: The author is a little gun-shy when it comes to making actual concrete decisions.
I understand that there are no earthly Rating: 6. I understand that there are no earthly absolutely, but you have to make a decision some time. Examples and postulates were stated frequently, and I would hazard to guess unnecessarily so.
How Designers Think