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Design
Published in Wanda Grimsgaard, Design and Strategy, 2023
Uniform design language: What does creating a unified design language mean? In a logo, uniform design language can be created by the details of the font, such as the serifs and arches, which have something in common with the corresponding details of the symbol.In an illustration, uniform design language can be created using a drawing tool (pencil, pen, marker) that provides the same structure continually throughout the drawing.In a layout, uniform design language can be created through the conscious use of design language, colour combinations, and style expressions.
From Programming Environments to Environments for Designing
Published in Constantine Stephanidis, User Interfaces for All, 2000
Just as a modern programming environment provides the programmer with a base language and libraries of common program elements, the design environment is populated by the collection of design languages on which the designer can draw in creating something new. This is in spite of all the lawsuits and concerns about “look and feel” infringement. The designer needs to be well versed in all of the common design languages and elements that users will encounter, either to employ them, or to avoid them if economic and legal concerns require that.
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Published in Takushi Tanaka, Setsuo Ohsuga, Moonis Ali, Industrial and Engineering Applications of Artificial Intelligence and Expert Systems, 2022
Markus Stumptner, Franz Wotawa
In the DDV (Design Diagnosis for VHDL) project, the authors have applied model-based diagnosis to the debugging of hardware designs written in the VHDL language [FSW95]. Hardware specification languages such as VHDL (an IEEE standard and the most widespread such language in current use) combine the syntax and expressiveness of a full conventional programming language with special parallel constructs (to simulate the concurrent internal workings of integrated circuits), data types (e. g., the multivalued logics used by circuit designers to describe different states of signal lines).VHDL development environments are delivered together with large libraries containing predefined standard circuits, such as the standard logical gate types. The main reason for the use of design languages is the attempt to avoid, by whatever means possible, the surfacing of design errors after a lot of money has been spent on production of the first prototypes of the board or chip. Circuit designs are successively refined to a degree where they can be automatically transformed (” synthesized”) into the final gate-level representation. Large hardware designs (comprising multiple ASIC’s and microprocessors) can reach dimensions of several 100. 000 lines of VHDL code and thousands of components and signals at the top level. For such designs, typically written by a large team of designers, testing, fault detection and localization become very time-consuming activities, because they involve simulations of an actual circuit that can take hours or days, scanning of the resulting signal traces by hand, and subsequent identification of the error in a large program parts of which may have been produced by outside subcontractors. In effect, these designs present all the problems of software debugging with the additional problem that test runs and actual finding of misbehavior take a lot of manpower and real time. An automated assistant for fault-finding thus presents the possibility for major cost savings in the design process.
Bridging the gap between the individual and the group: the education of attention in design
Published in CoDesign, 2023
In empirical studies that examine the relation between designers and their objects of design, two distinct types of result emerge concerning skilled design activity. In one type, individual expert designers are studied as they produce artefacts, with the goal of understanding the strategies by which such artefacts are produced, e.g. (Dorst and Cross 2001; Goel 1995; Schön and Wiggins 1992; Suwa and Tversky 1997). From this set of research studies emerges a view of individual designing that demonstrates the complex, nuanced, iterative, context-dependent ways that expert designers produce their artefacts, with a particular emphasis on the role that visual representations (sketches) and ‘seeing’ as a designer play in the action of designing (Goldschmidt 2003; Suwa and Tversky 1997; Verstijnen et al. 1998). Following Schön (1983), we can say that expert designers use a subtle and expressive design language: taking this (as Schön does) to mean ‘language and the activities into which it is woven’ (Wittgenstein 2009, 8). One reason for talking about design language is that this highlights for designers not only the importance of their contextually responsive design actions, but also of the importance of articulating the intelligibility of these actions, ‘the justification of the design, which explains why the design is constructed in just the way it is’ (Dorst 2003, 29). An expert’s design language therefore includes skilled embodied activity and talk, including justificational talk, in and around this activity.
‘The blue dot thing’: a discourse analysis of learner interlanguage in instructional design
Published in CoDesign, 2022
Craig D. Howard, Katherine L. Bevins
Discourse in instructional design, like all discourses, are emergent. Gibbons (2013) talks of emergent design languages that facilitate discussions of decisions and precedent. ‘As design languages evolve and we become fluent in using them, the result is advances in design sophistication, effectiveness, productivity, and quality of designs’ (Gibbons 2013, 306). Emergent discourses do not develop in a uniform way. Proficiency within a discourse progresses more quickly in some areas than in others. In the fields of language acquisition, interlanguage describes multidimensional proficiencies prior to communicative competence within a discourse (Kasper and Blum-Kulka 1993). Understanding how communicative competence evolves offers utility to design educators and those who work in settings where designs hinge on collaboration skills among designers. Knowledge of interlanguage has informed the teaching of linguistic patterns, such as vocabulary lists, common grammatical structures and low scope patterns that permeate certain types of linguistic tasks. Instructional design has, as a field, not yet fully articulated what is and is not the discourse of instructional design beyond the process model.
Cognitive and linguistic differences in architectural design
Published in Architectural Science Review, 2019
Ju Hyun Lee, Ning Gu, Michael J. Ostwald
In parallel to the design cognition coding system, the other two used for this project – for design information and spatial language coding – aim to highlight cultural and linguistic differences. Most of the categories in the design information coding scheme are adopted from Suwa and Tversky’s (1997) research, which can be called a ‘design language coding scheme’. This second coding system consists of two categories, namely ‘property’ and ‘functionality’. They are visually identified in each design protocol and closely related to a domain-specific language, i.e. design language. ‘P-space’, ‘P-object’, ‘P-shape’ and ‘P-size’ have been thoroughly defined as emergent properties in Suwa and Tversky's research, while ‘P-enclosure’, proposed in this paper, relates to the physical depiction of an enclosure (e.g. walls, doors or windows) that often occurs in the local configuration of the conceptual design stage. Functional properties are also suggested by attending to visual information in the sketch (Suwa and Tversky 1997). For example, the functionality deals with practical roles, abstract features and their interactions, views, lights and circulation.