What Designers Know

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The great American architect Frank Lloyd Wright was quoted in the New York Times (4 October, 1953). In the litigious climate of today his comment is unlikely to gain much sympathy from any disgruntled clients of designers. But the essence of his aphorism remains as penetratingly perceptive now as it was then. Designers commit themselves very publicly to ideas that often with the hindsight gained by the passage of time look poor or even absurd. Architects in particular have come in for some pretty bad press recently as a result. At least industrial designers see their products fade away in response to the market but buildings have a nasty habit of hanging around advertising the misjudgements of their architects. Consider then, dear reader, the fate of authors of books about design. Not only does the book remain on the library shelves but we also have the misfortune to have our work imprinted with its initial date of publication. This rather sneakily leaps out of the page at you whenever it is referenced by others kind enough to have found it of some value in their own studies. To begin with this seems flattering but as the years go by it becomes a constant reminder of the inexorable passage of time. My first book, How Designers Think, was written an alarmingly long time ago (Lawson, 1980), and if I were starting to write it now I would probably do so in quite a different way. But it has been in print ever since, and has passed through several editions as ideas have developed and more research has been done (Lawson, 1997). This book started life as yet another edition but it gradually became apparent that there was now much more to say than the original structure of How Designers Think was capable of accommodating. So this book might usefully be seen as a companion volume to How Designers Think. We understand design a great deal better than we did when that book was first published. People have written about their own experiences of designing for centuries and a few have tried to generalize, but design theory as a serious subject on the global stage is perhaps no more than four or five decades old. There is clearly much yet to learn but we now think we know a very considerable amount about designing. The field of knowledge had its origins in what was really known as design ethodology. Those early contributions were much more in the style of deterministic methods and techniques and they were largely prescriptive. We have moved on considerably from there to a much deeper investigation and much more descriptive work. How Designers Think concentrated on the nature of design problems and the processes of designing. This book is more about the rather special kind of knowledge upon which designers rely and manipulate when practising their art. It will not discuss the whole range of issues that might be currently thought to be relevant to an understanding of the design process and the two books taken together offer a more complete picture of my position. The book begins, however, with some material that overlaps with its companion as we map out the nature of designing in order to explore why design knowledge is rather unusual and special and then examine ways of investigating it. Of course design knowledge itself is invisible and so we then proceed to explore it through its common manifestations. This includes the drawings that designers make not only as they proceed with individual projects but also as they acquire and develop the knowledge upon which they rely. It includes the tricky question of the problems that designers have in relating to the newer tools of computer-aided design. Perhaps by rubbing up against such tools and finding them lacking we can learn something of the kinds of knowledge that designers need in order to work. Design is most often a social activity when carried out professionally. It involves teams of designers, specialist consultants and of course clients and other interested parties. This leads us on to examine the conversations these players have as design progresses as yet another way of revealing the nature of the knowledge they use. After piecing the argument together so far we then look at the nature of expertise in design. What is it that marks out the really successful designers? Do they know something that the rest of us do not, or maybe do they know the same things in different ways? Of course all these questions were around back in 1980 when I first wrote How Designers Think. But then we had little evidence about the actual practice of design and about how the skills are acquired both academically and professionally. We had a very limited understanding of the nature of design problems.

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