Transforming Grounds

One of the misconceptions about design is that some designs are simpler and easier than others. The misconception is based on the idea that some designs in themselves are obvious in the sense that they may have few parts, simple and few functions, simple and obvious form,  etc. which would mean that the overall possible design space is highly reduced and the number of difficult judgments and decisions needed are also reduced. This misconception is serious since it can lead to the idea that simple designs do not need so much designerly attention, effort, resources, and time. Contrary to this misconception, every particular design is infinitely complex. At the level of the ultimate particular, there is an infinite number of variables that need to be decided. (Opposite to that, if we move towards the universal, the complexity is reduced as the level of abstraction increases, see diagram below) I think it is liberating for a designer to acknowledge that every design, no matter how &q

In relation to my post about how designers learn I want to add a bit more about judgment and in particular design judgment. I don't think it is possible to overstate the importance of design judgment. Every design situation presents a richness and complexity that is not possible to fully grasp and handle in any comprehensive way. Designers are always dealing with overwhelming amounts of information while not knowing enough. The way to cope with this complexity is to use design judgment. In our book "The Design Way" (ref below), we devoted a whole chapter to the notion of judgment. This is a section from the beginning of that chapter. "Judgment is not a form of decision making as commonly understood. It is not dependent on rules of logic found within rational systems of inquiry. Judgment is not founded on strict rules of reasoning. It is more likely to be dependent on the accumulation of the experience of consequences from choices made in complex situations. Howev

Donald Schon writes in his last book ("Frame Reflection" see ref below) about the process with which designers learn from experience and about how knowledge aimed at supporting designers are produced. He makes the case that one commonly accepted way of developing knowledge is to develop what he calls "covering laws", that is, externally valid propositions, "propositions that are probably true of all the instances to which they are applicable in principle." However, he states that one problem with this kind of knowledge when it comes to design is that it tends to "fail in practice because other things are never entirely equal in all relevant aspects". Design situations are always unique. He also states that "covering laws" that do seem to prove relatively useful commonly turn out to be trivial and not improving practical wisdom. On the other hand "situation-specific, case-based studies of practice,...., tend to be dismissed by

One of my favorite philosophers, Albert Borgmann, has developed a theory commonly called the Device Paradigm (reference below). The theory states that people are inclined to develop new technology that changes the way we do things from being focal practices to being commodities. A focal practice is an activity where you are aware of what is going on, have some understanding of how things work, and you are in control of the activity, and you are intentionally engaged in the experience. When technology is introduced, some practices become invisible and automatic. Technology creates a disconnect between means and ends. As a "user" you are commonly only aware of the end (the outcome). For instance, systems that keep our homes and workplaces warm or cool are commodified. We only experience the end result, the outcome, that is, the changing temperature (which we sometimes can control) but we do not have any idea about how and where the heat is produced or spread. The traditional fo