Design Thinking Nigel Cross chapter 1.2.pptx

Designers recognize that problems and solutions in design are closely interwoven, that ‘the solution’ is not always a straightforward answer to ‘the problem’. A solution may be something that not only the client but also the designer ‘never dreamed he wanted’.
The uncertainty of design is both the frustration and the joy that designers get from their activity; they have learned to live with the fact that design proposals may remain ambiguous and uncertain until quite late in the process. Designers will generate early tentative solutions, but also leave many options open for as long as possible; they are prepared to regard solution concepts as temporarily imprecise and often inconclusive.
Designers need to use sketches, drawings and models of all kinds as a way of exploring problem and solution together, and of making some progress when faced with the complexity of design.
The criticisms of the typical ways that designers work led to attempts to provide design methods or guidelines that would encourage designers to work more ‘rationally’.
However, this kind of procedure has been criticized in the design world because it seems to be based on inappropriate models imported from theories of problem-solving and ‘rational behaviour’, and therefore runs counter to designers’ more ‘intuitive’ ways of thinking and reasoning.
A lot of engineering design is intuitive, based on subjective thinking. But an engineer is unhappy doing this. An engineer wants to test; test and measure. He’s been brought up this way and he's unhappy if he can't prove something. Whereas an industrial designer is entirely happy making judgements which are intuitive!

1. Design Thinking NIGEL CROSS

2. chapter one Design Ability

3. Collection National Portrait Gallery, London 3 Our job is to give the client, on time and on cost, not what he wants, but what he never dreamed he wanted; and when he gets it, he recognises it as something he wanted all the time. 3 DENYS LASDUN Industrial Designer United Kingdom  (1914 – 2001)

4. methods used in these studies 4 Interviews Asking designers about what they do Analytical case studies Deconstructing what designers do Reflection and theorizing Thinking about what designers do Real-world and laboratory-style studies Watching what designers do Studying design ability

5. 5 Squid like lemon squeezer, phenomenally successful product in terms of sales (if not necessarily in terms of its apparent function). 5 The renowned French designer Philippe Starck said that design ideas seem to come to him quite quickly and spontaneously. As if from nowhere. Design Ability

6. Royal Designers for Industry 12/1/2023 6 Royal Designers for Industry (RDI) is an elite body of designers, affiliated to the Royal Society for the Encouragement of Arts, Manufactures and Commerce or the Royal Society of Arts (RSA) as it is more conveniently known. Royal Designers for Industry (RDIs) are selected for the honour of appointment to the Faculty on the basis of their outstanding achievements in design. 6

7. 7 ‘I Believe in intuition. I think that’s the difference between a designer and an engineer…I make a distinction between engineers and engineering designers… An engineering designer is just as creative as any other sort of designer. Asking designers about what they do 7 Jack Howe Industrial designer United Kingdom (1911-2003)

8. Richard Stevens The product designer A lot of engineering design is intuitive, based on subjective thinking. But an engineer is unhappy doing this. An engineer wants to test; test and measure. He’s been brought up this way and he's unhappy if he can't prove something. Whereas an industrial designer is entirely happy making judgements which are intuitive! 8

9. ‘As a matter of fact, the solution that I came up with wasn’t a solution to the problem at all. I never saw it as that .  .  . But when the chair was actually put together, in a way it quite well solved the problem, but from a completely different angle, a completely different point of view.’ Designers recognize that problems and solutions in design are closely interwoven, that ‘the solution’ is not always a straightforward answer to ‘the problem’. A solution may be something that not only the client but also the designer ‘never dreamed he wanted’. Geoffrey Harcourt furniture designer 9

10. 10 Two overlapping triangles also contain emergent features such as a hexagon and a six-pointed star. Vase or faces? 10

11. methods used in these studies 11 ‘I really have, perhaps, one real talent, which is that I don’t mind at all living in the area of total uncertainty.’ Sydney Opera House Ted Happold Structural engineering designer (1930-1996) UK The uncertainty of design is both the frustration and the joy that designers get from their activity; they have learned to live with the fact that design proposals may remain ambiguous and uncertain until quite late in the process. Designers will generate early tentative solutions, but also leave many options open for as long as possible; they are prepared to regard solution concepts as temporarily imprecise and often inconclusive. 11

12. Designers need to use sketches, drawings and models of all kinds as a way of exploring problem and solution together, and of making some progress when faced with the complexity of design. ‘Whenever we have a design session or a crit review session in the office, I cannot say anything until I’ve got a pencil in my hand . . . I feel the pencil to be my spokesman, as it were . . . I haven’t got an imagination that can tell me what I’ve got without drawing it . . . I use drawing as a process of criticism and discovery.’ Richard MacCormac British architect ( 1938 – 2014) 12

13. Philippe Starck’s design sketches for the lemon squeezer on the restaurant place mat. Anti-clockwise from bottom right: initial thoughts around conventional lemon squeezers; analogical inspiration from the form of a squid; improvement of the form; recall of precedent forms from science-fiction; the final concept and the finished product. 13 Deconstruction of Juicy Salif design process

14. 1 2 3 4 Analysing the problem Breaking this into sub problems Finding suitable sub solutions evaluating selecting and combining The criticisms of the typical ways that designers work led to attempts to provide design methods or guidelines that would encourage designers to work more ‘ rationally ’. However, this kind of procedure has been criticized in the design world because it seems to be based on inappropriate models imported from theories of problem-solving and ‘rational behaviour ’, and therefore runs counter to designers’ more ‘intuitive’ ways of thinking and reasoning. 14 The process of analysis-synthesis-evaluation

15. 15 “A scientific hypothesis is not the same thing as a design hypothesis. A logical proposition is not to be mistaken for a design proposal. A speculative design cannot be determined logically, because the mode of reasoning involved is essentially abductive.” 15 Lionel March Architect (1934-2018) UK Investigates extant forms Has interests in abstract forms Logic Science Design Initiates novel forms He distinguished design’s mode of reasoning from those of logic and science.

16. Charles Sanders Peirce (1839-1914)  US 16 Abduction reasoning The logic of design Deductive reasoning The reasoning of formal logic Inductive reasoning The logic of science ACCORDING TO PEIRCE

17. 17 productive reasoning Appositional reasoning The designer has to produce a design The designer makes a proposal for a solution that, when juxtaposed with the problem, seems to be an apposite response Instead of abductive reasoning, Lionel March preferred to call designing:

18. chapter two Designing to win

19. 12/1/2023 19 Ian Gordon Murray (born 18 June 1946), is a South African-British designer of  Formula One racing cars for  Brabham  and  McLaren  and the  McLaren F1  high performance road car. Founder and CEO of Gordon Murray Design and Gordon Murray  Automotive  he has subsequently designed and built a number of sports cars and a variety of other automotive vehicles. Gordon Murray 19

20. 20

21. 21 The early wire and card mock-up for the city car, showing the single opening canopy. Courtesy of Gordon Murray. The first prototype version of the T.25 city car. Courtesy of Gordon Murray Design. Car city

22. Later sketches by Gordon Murray for the T.25 city car. Courtesy of Gordon Murray. Some of Gordon Murray’s early sketches for the city car concept: (a) overall concept, (b) a very early sketch of suspension and other details, made in a pocket notebook, around the same time as the concept sketches. Courtesy of Gordon Murray 22

23. Design process and working method Team work Learning from failure The Gordon Murray Automotive T.50 supercar of 2020 which also uses a rear-mounted fan to control underbody airflow. Courtesy of Gordon Murray Automotive. The Brabham BT46B Formula One ‘fan car’ of 1978 23

24. Thank you