Part I. Experimental Studies: 2. Experiment in psychology 3. Experiments on perceiving III Experiments on imaging 4-8. Experiments on remembering: (a) The method of description (b) The method of repeated reproduction (c) The method of picture writing (d) The method of serial reproduction (e) The method of serial reproduction picture material 9. Perceiving, recognizing, remembering 10. A theory of remembering 11. Images and their functions 12. Meaning Part II. Remembering as a Study in Social Psychology: 13. Social psychology 14. Social psychology and the matter of recall 15. Social psychology and the manner of recall 16. Conventionalism 17. The notion of a collective unconscious 18. The basis of social recall 19. A summary and some conclusions.

Remembering. A Study in Experimental and Social Psychology, Cambridge (University Press) 1964.

This is the third paper in a series being published in Design Studies, which aims to establish the theoretical bases for treating design as a coherent discipline of study. The first contribution in the series was from Bruce Archer, in the very first issue of Design Studies, and the second was from Gerald Nadler, in Vol 1, No 5. Further contributions are invited. Here, Higel Cross takes up the arguments for a ‘third area’ of education—design—that were outlined by Archer. He further defines this area by contrasting it with the other two—sciences and humanities—and goes on to consider the criteria which design must satisfy to be acceptable as a part of general education. Such an acceptance must imply a reorientation from the instrumental aims of conventional design education, towards intrinsic values. These values derive from the ‘designerly ways of knowing’. Because of a common concern with these fundamental ‘ways of knowing’, both design research and design education are contributing to the development of design as a discipline.

/pdf/designerly-ways-of-knowing-d5we3j2wg0.pdf

Designerly ways of knowing

A prevalent and pervasive view of designing is that it can be modeled using variables and decisions made about what values should be taken by these variables. The activity of designing is carried out with the expectation that the designed artifact will operate in the natural world and the social world. These worlds impose constraints on the variables and their values; so, design could be described as a goal-oriented, constrained, decision- making activity. However, design distinguish- es itself from other similarly described activities not only by its domain but also by additional necessary features. Designing involves exploration, exploring what variables might be appropriate. The process of explo- ration involves both goal variables and deci- sion variables. In addition, designing involves learning: Part of the exploration activity is learning about emerging features as a design proceeds. Finally, design activity occurs within two contexts: the context within which the designer operates and the context produced by the developing design itself. The designer’s perception of what the context is affects the implication of the context on the design. The context shifts as the designer’s perceptions change. Design activity can be now characterized as a goal-oriented, con- strained, decision-making, exploration, and learning activity that operates within a con- text that depends on the designer’s percep- tion of the context.

Design Prototypes: A Knowledge Representation Schema for Design

Even though interaction is an important part of information visualization (Infovis), it has garnered a relatively low level of attention from the Infovis community. A few frameworks and taxonomies of Infovis interaction techniques exist, but they typically focus on low-level operations and do not address the variety of benefits interaction provides. After conducting an extensive review of Infovis systems and their interactive capabilities, we propose seven general categories of interaction techniques widely used in Infovis: 1) Select, 2) Explore, 3) Reconfigure, 4) Encode, 5) Abstract/Elaborate, 6) Filter, and 7) Connect. These categories are organized around a user's intent while interacting with a system rather than the low-level interaction techniques provided by a system. The categories can act as a framework to help discuss and evaluate interaction techniques and hopefully lay an initial foundation toward a deeper understanding and a science of interaction.

https://www.cc.gatech.edu/~john.stasko/papers/infovis07-interaction.pdf

Toward a Deeper Understanding of the Role of Interaction in Information Visualization

http://oro.open.ac.uk/3271/1/Expertise_Overview.pdf

Expertise in Design: an overview

How Designers Think is based on Bryan Lawson's many observations of designers at work, interviews with designers and their clients and collaborators. This extended work is the culmination of twenty-five years' research and shows the author's belief that we all can learn to design better. The creative mind continues to have power to surprise and this book aims to nurture and extend this creativity. This book is not intended as an authoritative description of how designers should think but to provide helpful advice on how to develop an understanding of design. 'How Designers Think' will be of great interest, not only to designers seeking a greater insight into their own thought processes, but also to students of design in general from undergraduate level upward.

How Designers Think: The Design Process Demystified

Each chapter deals with a different technique from which we can best represent and make explicit the forms of knowledge used by designers. The book explores whether design knowledge is special, and attempts to get to the root of where design knowledge comes from. Crucially, it focuses on how designers use drawings in communicating their ideas and how they ‘converse’ with them as their designs develop. It also shows how experienced designers use knowledge differently to novices suggesting that design ‘expertise’ can be developed. Overall, this book builds a layout of the kinds of skill, knowledge and understanding that make up what we call designing.

What designers know

https://www.creativityandcognition.com/cc_conferences/cc03Design/papers/13LawsonDTRS6.pdf

Schemata, gambits and precedent: some factors in design expertise

The paper describes one of the series of experiments studying the nature of the architectural design process and how design skills are acquired by students. An experimental situation is described which models some central features of design problems in the abstract. This allows comparisons to be made between groups of first and final year students of architecture as well as sixth form school pupils and post-graduate science students. Significantly different problem solving strategies are shown by the final year architecture and post-graduate science students. It is suggested that these results have implications for the nature of design legislation, design tools and particularly computer aided design systems, many of which currently in use appear to be based on the scientists' rather than designers' cognitive strategies.

Cognitive Strategies in Architectural Design

Space as Language Space and the Human Dimension Mechanisms of Perceiving Space Four Ways of Perceiving Space Space and Distance Proxemics The Territory Space and Time Recording Space.

Bryan Lawson

Papers

How Designers Think: The Design Process Demystified

What designers know

Schemata, gambits and precedent: some factors in design expertise

Cognitive Strategies in Architectural Design

The language of space