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What Designers Know
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. 1. Provides an exploration of research techniques giving an insight into the source of design knowledge2. Illustrates how designers interact with their drawings and with computers in developing their knowledge3. Provides the latest debates on the nature of design knowledge
144 pages, Kindle Edition
First published November 1, 2004
5 people are currently reading
105 people want to read
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Displaying 1 - 2 of 2 reviews
April 8, 2024
I had to read and summarize this book as part of my written assignment in my first year of Master in Architecture. Here are my summary by chapters :
Chapter 1 : Uncovering Design Knowledge
The first chapter of any book will always be an introductory towards the setting the whole book will take place. During a stage performance, an opening act will be conducted to “warm up” the audience as functionally to rope for excitement and enthusiasm for the headlining performance. In this chapter Lawson (2004) started off by intriguing the mind of readers that there is no direct nor accurate answer to what an architect or a designer does.
Chapter 2 : Why Might Design Knowledge Be Special?
In this chapter, Lawson (2004) expressed that knowledge in design is very fluid and could only be retained in a unique kind of way shaped by the design of the container it holds. To an extent every designer have their own knowledge that helps in the process but at the same time constantly misunderstood. From here, the book starts to question ‘How does a designer get from problem to solution?’
Chapter 3 : Sources and Types of Knowledge
In the previous chapter Lawson (2004) described Goel’s (1992) design process to be from a series of stages beginning with ‘problem structuring’ to ‘preliminary design’, ‘refinement’, and ends with ‘design detail’. Following up to that chapter, Chapter 3 discusses that even with a linear protocol, the designer themselves took charge over 90 per cent of the majority knowledge skills in each stages. In order to gain such knowledge Lawson (2004) explained that architecture students would require exposure to situations dealing with actual clients, potential user, a manufacturer or a legislative enforcer at an early stage.
Chapter 4 : Drawings and Types of Design Knowledge
Both contemporary and traditional designers alike utilises drawings to achieve final designs. Drawings are the core medium as a stepping stone for designers to begin the journey of a thousand miles. With the rise of computer-aided designs, conventional drawings remained unparalleled as a tool of representation for every designers. Lawson (2004) emphasized heavily in this chapter that there a many different kinds of drawings with each different form of representations – from presentation to instruction, to consultation, extending to experiential, diagrams, proposition and calculation.
Chapter 5 : Manipulating Design Knowledge Embedded in Drawings
In Chapter 4, Lawson (2004) has explained in high detail the different types of drawing designers overtake on a daily. Moving on from there, in this chapter Lawson (2004) went into more detail with the medium of the drawings – pen and paper. Such drawing instruments are quintessential to every designer to an extent that some designers only use their own preferable instruments to draw. The connection of putting ideas down on ink or carbon illustrates a narrative for the design knowledge to flow even if it seems scratches on paper.
Chapter 6 : Exchanging Design Knowledge With Computers
Moving away from conventional drawing, in this chapter Lawson (2004) argues the innovation of technological advancement in aiding designers in designing like CAD Softwares, Digital Tablet, Rendering Engines. The introduction of computers have opened many opportunities and doors for designers to express their form of representation to the point it has been called the ‘oracle’.
Chapter 7 : Design Conversations
During design processes designers are more likely to communicate through drawings and images instead of written texts or verbal language. Conveying instructions for design ideas work effectively through drawings just as shown through IKEA’s assembly manual. In addition to that, every airlines have in-flight safety card that contains more images and drawings for the passengers’ ease of understanding during emergencies. This proves that even a very new beginner could understand the message behind drawings and illustrations said in Chapter 4, solidifying the fact that drawings are effective communication medium. Chapter 5 supports this chapter by indicating that symbolism exists within such communication. This way, Lawson (2004) explained in this chapter that shared knowledge can be accomplished, developed, explored and communicated within a group of designers and non-designers.
Chapter 8 : Theoretical and Experiential Knowledge In Design
After going through previous chapters, Lawson (2004) used Chapter 8 as a sequence to lead to the essence of references and precedents. Designers take advantage of past works from other designers to obtain design knowledge for their own projects. Similarly to Chapter 1, Goldschmidt (1998) acknowledged that there is no two identical design hence a precedent or reference should not be solution focused but problem focused instead. Lawson (2004) did highlight the dangers of collecting precedents and mix into one pot of empirical analysis, this is a recipe for a ‘frankensteined’ solution based knowledge. In conclusion, Donald Schon (1988) argued that each design should be treated as new as possible and not a replication of past projects. Schon (1998) suggested that precedents should be broken down into compartments and further rinse them to be adopted into a designer’s design. For Schon (1998), precedents are the only way where qualities of a good design education could be obtained.
Chapter 9 : Expert Knowledge In Design
In the final chapter of the book, Lawson (2004) concluded that the process of a designer is a lengthy but not an exhaustive one. Kees Dorst (2003) introduced five levels of designer expertise which is ‘Novice’, ‘Beginner’, ‘Competent’, ‘Proficient’, ‘Expert’. The schemata will be the common denominator in projecting a designer’s experience and skills in the industry. As a designer move up the hierarchy, the said designer to be deemed to have obtained a certain level of design knowledge that they have formed throughout their experience. This design knowledge are able to structure an individual framework of ‘knowing what might work’. Each designer will have their own set of structural formula after repetition of design works and are able to think ahead clearly. A designer could foresee problems that they acknowledge to be crucial or critical to be solved in design. Hence, Lawson (2004) pressed that design knowledge are said to be gained by designers who have the ability to perform repeated challenges without much effort and this will distinguish expert designers from the rest of the pack.
Chapter 1 : Uncovering Design Knowledge
The first chapter of any book will always be an introductory towards the setting the whole book will take place. During a stage performance, an opening act will be conducted to “warm up” the audience as functionally to rope for excitement and enthusiasm for the headlining performance. In this chapter Lawson (2004) started off by intriguing the mind of readers that there is no direct nor accurate answer to what an architect or a designer does.
Chapter 2 : Why Might Design Knowledge Be Special?
In this chapter, Lawson (2004) expressed that knowledge in design is very fluid and could only be retained in a unique kind of way shaped by the design of the container it holds. To an extent every designer have their own knowledge that helps in the process but at the same time constantly misunderstood. From here, the book starts to question ‘How does a designer get from problem to solution?’
Chapter 3 : Sources and Types of Knowledge
In the previous chapter Lawson (2004) described Goel’s (1992) design process to be from a series of stages beginning with ‘problem structuring’ to ‘preliminary design’, ‘refinement’, and ends with ‘design detail’. Following up to that chapter, Chapter 3 discusses that even with a linear protocol, the designer themselves took charge over 90 per cent of the majority knowledge skills in each stages. In order to gain such knowledge Lawson (2004) explained that architecture students would require exposure to situations dealing with actual clients, potential user, a manufacturer or a legislative enforcer at an early stage.
Chapter 4 : Drawings and Types of Design Knowledge
Both contemporary and traditional designers alike utilises drawings to achieve final designs. Drawings are the core medium as a stepping stone for designers to begin the journey of a thousand miles. With the rise of computer-aided designs, conventional drawings remained unparalleled as a tool of representation for every designers. Lawson (2004) emphasized heavily in this chapter that there a many different kinds of drawings with each different form of representations – from presentation to instruction, to consultation, extending to experiential, diagrams, proposition and calculation.
Chapter 5 : Manipulating Design Knowledge Embedded in Drawings
In Chapter 4, Lawson (2004) has explained in high detail the different types of drawing designers overtake on a daily. Moving on from there, in this chapter Lawson (2004) went into more detail with the medium of the drawings – pen and paper. Such drawing instruments are quintessential to every designer to an extent that some designers only use their own preferable instruments to draw. The connection of putting ideas down on ink or carbon illustrates a narrative for the design knowledge to flow even if it seems scratches on paper.
Chapter 6 : Exchanging Design Knowledge With Computers
Moving away from conventional drawing, in this chapter Lawson (2004) argues the innovation of technological advancement in aiding designers in designing like CAD Softwares, Digital Tablet, Rendering Engines. The introduction of computers have opened many opportunities and doors for designers to express their form of representation to the point it has been called the ‘oracle’.
Chapter 7 : Design Conversations
During design processes designers are more likely to communicate through drawings and images instead of written texts or verbal language. Conveying instructions for design ideas work effectively through drawings just as shown through IKEA’s assembly manual. In addition to that, every airlines have in-flight safety card that contains more images and drawings for the passengers’ ease of understanding during emergencies. This proves that even a very new beginner could understand the message behind drawings and illustrations said in Chapter 4, solidifying the fact that drawings are effective communication medium. Chapter 5 supports this chapter by indicating that symbolism exists within such communication. This way, Lawson (2004) explained in this chapter that shared knowledge can be accomplished, developed, explored and communicated within a group of designers and non-designers.
Chapter 8 : Theoretical and Experiential Knowledge In Design
After going through previous chapters, Lawson (2004) used Chapter 8 as a sequence to lead to the essence of references and precedents. Designers take advantage of past works from other designers to obtain design knowledge for their own projects. Similarly to Chapter 1, Goldschmidt (1998) acknowledged that there is no two identical design hence a precedent or reference should not be solution focused but problem focused instead. Lawson (2004) did highlight the dangers of collecting precedents and mix into one pot of empirical analysis, this is a recipe for a ‘frankensteined’ solution based knowledge. In conclusion, Donald Schon (1988) argued that each design should be treated as new as possible and not a replication of past projects. Schon (1998) suggested that precedents should be broken down into compartments and further rinse them to be adopted into a designer’s design. For Schon (1998), precedents are the only way where qualities of a good design education could be obtained.
Chapter 9 : Expert Knowledge In Design
In the final chapter of the book, Lawson (2004) concluded that the process of a designer is a lengthy but not an exhaustive one. Kees Dorst (2003) introduced five levels of designer expertise which is ‘Novice’, ‘Beginner’, ‘Competent’, ‘Proficient’, ‘Expert’. The schemata will be the common denominator in projecting a designer’s experience and skills in the industry. As a designer move up the hierarchy, the said designer to be deemed to have obtained a certain level of design knowledge that they have formed throughout their experience. This design knowledge are able to structure an individual framework of ‘knowing what might work’. Each designer will have their own set of structural formula after repetition of design works and are able to think ahead clearly. A designer could foresee problems that they acknowledge to be crucial or critical to be solved in design. Hence, Lawson (2004) pressed that design knowledge are said to be gained by designers who have the ability to perform repeated challenges without much effort and this will distinguish expert designers from the rest of the pack.
November 4, 2018
Quite har to follow a lot of the time, especially with all the examples and anecdotes. Could easily be half the length without taking away any of the actual information.
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