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Why Design: Its Challenges

Explore the concept of design as an activity that involves thinking, anticipation, seeking alternatives, and anticipating consequences. Learn about the different self-images of designers and their roles as artists, builders, coordinators, entrepreneurs, and healers. Understand the nature of design problems, including tame challenges and wicked challenges. Discover the historical beginnings of design studios and the evolution of design education. Gain insights into the Bauhaus movement and the development of environmental design.

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Why Design: Its Challenges

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  1. What is design? Designing : An activity which consists of thinking before acting. Design takes place in a world of interpretation. Design is anticipation. Design is seeking alternatives. Design is anticipating consequences. Why Design: Its Challenges

  2. Self Images of Designers • Designer as Artist a. Is the producer of fine art. b. “Space” is the medium of expression c. Values are based on self expression.

  3. Designer as Builder • Knows how to deal with everyday problems • codes, budgets, schedules, materials • Strong practical and technical interests. • Are the designers who get things made/built.

  4. Designer as Coordinator • Manages a group of specialist. • Complex is the favorite word. • Know a little about a lot. • Choreographs the high powered, narrow view of specialist.

  5. Designer as Entrepreneur • Design as commodity. • Quality based on market. • Speculative action

  6. Designer as Healer • Good environments make healthy people. • See the environment as a social illness. • Social problems solved by better buildings/places.

  7. Designer as Planner • Design buildings like one would design an airplane. • FFF-Form follows function. • Making is a technical problem solving activity. • Buildings should be programmed by their function.

  8. A Definition of Design Designing is an activity, aiming at the production of plans, which if executed are expected to lead to a situation with desired properties, and without undesired, unforeseen side or after effects. • Design as activity, not a product. • Aims at something– is purposeful. • Plan as a set of instruction.

  9. Styles of Design Style 1: Routine Behavior Challenge Resolution

  10. Style 2: Trial and Error Challenge Partial Resolution Resolution Yes No Feedback Test

  11. Style 3: Criteria for Judgment New challenge Resolution Challenge Alternatives Feedback

  12. The Knowledge of the Designer • Factual Knowledge – knowledge of how the world is. • Deontic Knowledge – knowledge of what ought to be. • Explanatory Knowledge – knowledge of why something is. • Instrumental Knowledge – how to knowledge. • Conceptural Knowledge – symbols and conventions.

  13. Nature of Design Problems Two Types of Problems/Challenges • Tame Challenges • 1. Have an exhaustive definition • 2. Ends and Goals well defined • 3. Examples: puzzles, math equations, models • b. Wicked Challenges • 1. No exhauxtive definition • 2. Formulation same as resolution • 3. Examples: social, political, design, and planning

  14. Design Challenge Characteristics • Wicked challenges have no exhaustive formulation. • The formulation is identical to the resolution. • Every wicked challenges can be considered a symptom of another wicked challenge. • Wicked challenges have no stopping rules. • Wicked challenges have many explanations for discrepancies.

  15. Characteristics continued • Wicked challenges have no test of correctness. • Wicked challenges are one-shot observations. • Wicked challenges have no list of permissible procedures, rules, operations, etc. • Wicked challenge resolvers have not right to make an error.

  16. The Beginnings of the Studio • Appearance in Egypt and Greece • Master crafts people • The studio/workshop • Romans elevate architecture • New theoretical underpinnings (Vitruvius) • Hydraulics and other forms of engineering

  17. The Renaissance • Formal academic instruction • Kinship of design and liberal arts • Drawing Geometry Perspective Classic Orders • Master Apprentice model • Separation of studio and lectures/seminars • Royal Academy of Architecture,France 1670 • French Royal Academy in Rome 1700 • Ecole des Beaux Arts 1797 • Bauakademie Berlin 1799

  18. Ecole Teaching Method • Exercises-analogies to complex buildings • The Esquisse • The Charette • The Parti • The Mosacis and Entourage • The Jury • Second Class and First Class

  19. Architecture England/USA • Architectural Association (The AA) 1810 • First Private School • Established licensure • RIBA-Professional Membership • USA • Courses at Rensselaer & West Point 1820 • Univ. of Illinois 1873--MIT 1868 • Columbia 1881--Harvard 1895 • Today 114 schools—50,000 students

  20. The Bauhaus Walter Gropius 1940 • Integration of utility and structure • The Modern Movement • Objective findings • Unification of diverse skills • Collaboration of muliple disciplines • Reunite the creative arts and crafts • Direct shop or field experience • Materials and industrial techniques

  21. Environmental Design 1960 • Decision Science • Concepts, methods, and values • Complex Problems • People and the Environment • Normalized • Direct Participation • Ecosystems • Design Methods

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