The design studio has been, and will probably continue to be, the cornerstone of design education. Its major feature is the one-on-one desk critique (crit), in which student and teacher discuss the student's work in progress on a regular and frequent basis. The studio is a learning by doing environment, and the crit is the setting in which students acquire design skills and knowledge, under the guidance of the teacher. Design teachers are usually practitioners who receive no pedagogical training, and the effectiveness of their teaching depends on experience, awareness, and talent. Here we offer a detailed qualitative and quantitative representation of the crit through analyses of three case studies, which were collected in second-year architectural studios. We use two types of protocol analysis methods: coding of verbalizations and linkography, which looks at links among verbalizations. We show the diversity in teachers' performance and point to common trends. We propose that analyses of this kind may serve as a major feedback instrument in the framework of a badly needed pedagogical basis for design education.

User-centered approaches to design can guide teams toward an understanding of users and aid teams in better posing design problems. This paper investigates the role of user-centered design approaches in design process and outcome within the context of design team projects. The value of interaction with users is examined at several stages throughout the design process. The influence of user-centered design on the performance of design teams is also explored. Results suggest that the quantity of interactions with users and time spent interacting with users alone is not linked with better design outcome, but that iterative evaluation of concepts by users may be of particular value to design prototypes. Suggestions are made based on the reflections from the authors after conducting this study.

Design research informs and supports practice by developing knowledge to improve the chances of producing successful products. Training in design research has been poorly supported. Design research uses human and natural/technical sciences, embracing all facets of design; its methods and tools are adapted from both these traditions. However, design researchers are rarely trained in methods from both the traditions. Research in traditional sciences focuses primarily on understanding phenomena related to human, natural, or technical systems. Design research focuses on supporting improvement of such systems, using understanding as a necessary but not sufficient step, and it must embrace methods for both understanding reality and developing support for its improvement. A one-semester, postgraduate-level, credited course that has been offered since 2002, entitled Methodology for Design Research, is described that teaches a methodology for carrying out research into design. Its steps are to clarify research success; to understand relevant phenomena of design and how these influence success; to use this to envision design improvement and develop proposals for supporting improvement; to evaluate support for its influence on success; and, if unacceptable, to modify, support, or improve the understanding of success and its links to the phenomena of design. This paper highlights some major issues about the status of design research and describes how design research methodology addresses these. The teaching material, model of delivery, and evaluation of the course on methodology for design research are discussed.

This paper explores the use of heuristics as cognitive strategies invoked during the process of design. Heuristics are reasoning processes that do not guarantee the best solution, but often lead to potential solutions by providing a simple cognitive “shortcut.” We propose that designers use specific design heuristics to explore the problem space of potential designs, leading to the generation of creative solutions. We test whether design heuristics can be taught to novices, and suggest their use will facilitate the design process at multiple levels of instruction. In the present empirical study, we evaluate a set of six instructional heuristics and validate their effectiveness with product concepts generated by novice designers. Six hundred seventy-three drawings were created by 120 first-year college students under four instructional conditions. Drawings were coded according to their content, use of heuristics, creativity, and practicality. The most creative concepts emerged from the experimental conditions where heuristics were introduced. Heuristics appeared to help the participants “jump” to a new problem space, resulting in more varied designs, and a greater frequency of designs judged as more creative. Our findings suggest that simple demonstration of design heuristics may, at times, be sufficient to stimulate divergent thinking, perhaps because these heuristics are readily grasped and contextual application is not required. Based on these findings, a conceptual model for design education emphasizing the importance of using a variety of heuristics is proposed. This model suggests that learning can be enhanced through exposure to a variety of design heuristics, and can supplement formal education and foster personal development in design learning.

When developing a better understanding of the design process there are several possible approaches to choose from. Many studies are based on novice designers (e.g., students) or designers of relatively modest talents. By contrast, some studies have queried designers who are considered to have outstanding and exceptional ability in order to gain an understanding of design at the highest level that it is practiced. The study reported here adopts yet another approach by exploring how design processes are perceived by design educators. The approach is motivated by the observation that teaching design requires consciously distilling the essence of the design process for the students, observing students during their design process and guiding them through the process. As a result, design teachers tend to develop a more articulate view of design processes than most other designers. Nineteen design teachers are interviewed using general topics as discussion points. Such an approach is invaluable when exploring more abstract research questions such as the notion of design processes. This approach differs from more controlled approaches (e.g., protocol analysis) in that it accepts that the data obtained are partially driven by negotiation between the researchers and the participants, and that the discussions are largely stories or narratives about design and designing. The resulting data illustrate that design processes are interpreted, articulated, and understood in a variety of ways by different teachers. These data and subsequent results tell us in rich detail about designing and design teaching, and as a result extend our understanding of the design process.

This paper presents a framework for teaching design engineering in a global context using innovative technologies to enable distributed teams to work together effectively across international and cultural boundaries. The Digital Libraries for Global Distributed Innovative Design, Education, and Teamwork (DIDET) Framework represents the findings of a 5-year project conducted by the University of Strathclyde, Stanford University, and Olin College that enhanced student learning opportunities by enabling them to partake in global, team-based design engineering projects, directly experiencing different cultural contexts and accessing a variety of digital information sources via a range of innovative technology. The use of innovative technology enabled the formalization of design knowledge within international student teams as did the methods that were developed for students to store, share, and reuse information. Coaching methods were used by teaching staff to support distributed teams and evaluation work on relevant classes was carried out regularly to allow ongoing improvement of learning and teaching and show improvements in student learning. Major findings of the 5-year project include the requirement to overcome technological, pedagogical, and cultural issues for successful eLearning implementations. The DIDET Framework encapsulates all the conclusions relating to design engineering in a global context. Each of the principles for effective distributed design learning is shown along with relevant findings and suggested metrics. The findings detailed in the paper were reached through a series of interventions in design engineering education at the collaborating institutions. Evaluation was carried out on an ongoing basis and fed back into project development, both on the pedagogical and the technological approaches.

Public perception of engineering recognizes its importance to national and international competitiveness, economy, quality of life, security, and other fundamental areas of impact; but uncertainty about engineering among the general public remains. Federal funding trends for education underscore many of the concerns regarding teaching and learning in science, technology, engineering, and mathematics subjects in primary through grade 12 (P-12) education. Conflicting perspectives on the essential attributes that comprise the engineering design process results in a lack of coherent criteria against which teachers and administrators can measure the validity of a resource, or assess its strengths and weaknesses, or grasp incongruities among competing process models. The literature suggests two basic approaches for representing engineering design: a phase-based, life cycle-oriented approach; and an activity-based, cognitive approach. Although these approaches serve various teaching and functional goals in undergraduate and graduate engineering education, as well as in practice, they tend to exacerbate the gaps in P-12 engineering efforts, where appropriate learning objectives that connect meaningfully to engineering are poorly articulated or understood. In this article, we examine some fundamental problems that must be resolved if preengineering is to enter the P-12 curriculum with meaningful standards and is to be connected through learning outcomes, shared understanding of engineering design, and other vestiges to vertically link P-12 engineering with higher education and the practice of engineering. We also examine historical aspects, various pedagogies, and current issues pertaining to undergraduate and graduate engineering programs. As a case study, we hope to shed light on various kinds of interventions and outreach efforts to inform these efforts or at least provide some insight into major factors that shape and define the environment and cultures of the two institutions (including epistemic perspectives, institutional objectives, and political constraints) that are very different and can compromise collaborative efforts between the institutions of P-12 and higher education.

This paper presents a formal analysis of design process dynamics. Such a formal analysis is a prerequisite to come to a formal theory of design and for the development of automated support for the dynamics of design processes. The analysis was geared toward the identification of dynamic design properties at different levels of aggregation. This approach is specifically suitable for component-based design processes. A complicating factor for supporting the design process is that not only the generic properties of design must be specified, but also the language chosen should be rich enough to allow specification of complex properties of the system under design. This requires a language rich enough to operate at these different levels. The Temporal Trace Language used in this paper is suitable for that. The paper shows that the analysis at the level of a design process as a whole and at subprocesses thereof is precise enough to allow for automatic simulation. Simulation allows the modeler to manipulate the specifications of the system under design to better understand the interlevel relationships in his design. The approach is illustrated by an example.

This paper introduces new research that seeks to develop low-cost, high quality, mass customizable building assembly systems that provide visually rich design variations for housing or other small structures. The building systems are intended to be tailored for particular cultures and communities by incorporating vernacular decorative design into the assembly design. Two complementary research areas are brought together in this work: shape grammars and digital fabrication. The visual, aesthetic aspects of the research are explored through shape grammars. The physical design and manufacturing aspects are explored through advanced digital design and fabrication technologies, and in particular, build on recent work on monomaterial assemblies with interlocking components that can be fabricated with computer numerical control machines and assembled easily by hand. The long-term objective of this research is the development of formal, visual–physical grammars with rules that generate complete computer-assisted design/computer-assisted manufacturing data for fabrication of full-scale components for assembly design variations. This paper reports on the first phase of this research: pilot studies for prototype assembly systems that incorporate vernacular languages from different parts of the world. The results of these studies are very promising, and demonstrate a spectrum of strategies for embedding visual properties in structural systems. Important next steps in this research are outlined. If successful, this work will lead to new solutions for low-cost, easily manufactured housing, which is especially critical in developing countries and for postdisaster environments. These new housing solutions will not only provide shelter but also support important cultural values through the integration of familiar visual design features. Beyond the specific context of housing and building assemblies, the research has the potential to impact the design and manufacture of designed artifacts on many scales and in many domains, especially in domains where visual aesthetics need to be considered jointly with physical, structural, or material requirements, and where design customization and variation is important.