Design knowledge

In Life Cycle Engineering, it is vital that the engineering knowledge for the product is captured throughout its life cycle in a formal and structured manner. This will allow the information to be referred to in the future by engineers who did not work on the original design but are wanting to understand the reasons that certain design decisions were made. In the past, attempts were made to try to capture this knowledge by having the engineer record the knowledge manually during a design session. However, this is not only time-consuming but is also disruptive to the creative process. Therefore, the research presented in this paper is concerned with capturing design knowledge automatically using a traditional 2D design environment and also an immersive 3D design environment. The design knowledge is captured by continuously and non-intrusively logging the user during a design session and then storing this output in a structured eXtensible Markup Language (XML) format. Next, the XML da...

In Life Cycle Engineering, it is vital that the engineering knowledge for the product is captured throughout its life cycle in a formal and structured manner. This will allow the information to be referred to in the future by engineers who did not work on the original design but are wanting to understand the reasons that certain design decisions were made. In the past, attempts were made to try to capture this knowledge by having the engineer record the knowledge manually during a design session. However, this is not only time-consuming but is also disruptive to the creative process. Therefore, the research presented in this paper is concerned with capturing design knowledge automatically using a traditional 2D design environment and also an immersive 3D design environment. The design knowledge is captured by continuously and non-intrusively logging the user during a design session and then storing this output in a structured eXtensible Markup Language (XML) format. Next, the XML da...

Knowledge-Based Engineering (KBE) is a research field that studies methodologies and technologies for capture and re-use of product and process engineering knowledge. The objective of KBE is to reduce time and cost of product development, which is primarily achieved through automation of repetitive design tasks while capturing, retaining and re-using design knowledge. Published research on KBE is not very extensive and also quite dispersed; this paper is an effort to collect and review existing literature on KBE. A total of 50 research contributions have been analysed. The main objectives of this analysis are to identify the theoretical foundations of KBE and to identify research issues within KBE, pointing out the challenges and pitfalls that currently prohibit a wider adoption of KBE while suggesting avenues for further research. Key findings include (a) the necessity for improved methodological support and adherence, (b) better transparency and traceability of knowledge, (c) the necessity for a quantitative framework to assess the viability and success of KBE development and implementation projects, and (d) the opportunity to move towards mass customization approaches through distributed deployment of KBE in the extended enterprise.

This paper is concerned with identifying the research directions for future computer systems for creative design. In order to define the requirements for support to the designer, or design team, we need to understand more about the way new ideas arise and come to fruition in an innovative product. We report a case study of the design of the LotusSport bicycle by its originator, Mike Burrows. In the light of this study and its relationship to other research into the characteristics of creative designers, we consider the implications for the design of computer support systems, in particular the knowledge intensive aspects of design. Support for interactive knowledge-based design requires fluent interaction between designer and knowledge in a way that does not impede the creative process. We term such a computer support environment a knowledge support system. Future research directions concerning interaction with design knowledge are proposed.

This article discusses some conceptual frameworks and notions used in, or with the potential to further develop, theories and understandings regarding the specific processes and forms of knowledge in creative practices of architecture, design and art. More articulate conceptual frameworks are not only of importance for strengthening disciplines and practices, but can also make valid contributions in wider societal contexts in relation to contemporary challenges in built environments. With the point of departure in the notions “material practice” by Stan Allen and “making disciplines” by Halina Dunin-Woyseth, theoretical frameworks and approaches by, for example, Andrew Pickering, Nigel Cross, Albena Yaneva, and Gilles Deleuze & Felix Guattari are discussed. The contemporary world has brought challenging societal developments and complex transformations of built environments, but new tools have also enabled other forms of design experiments, including non-verbal languages and various model worlds. The article argues that we must constantly study the contemporary situation, but also reflect upon our means of designing and production, as well as our forms of working and collaboration. New relationships between theory and practice, between research and practical designing, between academia, architectural practice and different actors in society, must be articulated and established through conscious strategies.

summary Details are presented of the reaction of multiple prosthetic experts in 17 dental schools in the U.K. to 125 design rules for removable partial dentures. Those rules receiving support from 50% of the schools are candidates for inclusion in RaPiD, a knowledge-based assistant for the design of removable partial dentures.

Abstract— One of the major challenges in the emerging interdisciplinary field of human-computer interaction (HCI) is the specification of a research line that can enable the development of validated design knowledge with a predictive power for the design of interactive systems. Based on ...

Liquid retaining structures, which are mainly used to retain domestic water, sewage, or industrial waste, are usually constructed with reinforced concrete in Hong Kong. During the design, novice engineers often encounter problems including decision-making based on rules of thumb, judgment, previous experience, heuristics, and code of practice. A computer-aided tool that incorporates engineering judgment along with algorithmic tools is highly desirable. This paper presents an intelligent tutoring system, with hybrid knowledge representation techniques including production rule system and object-oriented approach, which provides expert advice on design of liquid retaining structures. Intelligent tutoring system is a type of knowledge-based expert system with the particular purpose of teaching. It can serve the purpose for one-to-one tutoring, which is generally acknowledged to be the most effective teaching method, yet requiring high ratio of resources. This system is based on British Standards Code of Practice BS8007: 1987: Design of concrete structures for retaining aqueous liquids. Training exercises, learner model as well as tailored explanations on real design practice are furnished to help inexperienced designers or civil engineering students to learn how to design liquid retaining structures. Nowadays, with the popularity of personal computer, civil engineering students as well as novice engineers can glean hand-on knowledge on design of liquid retaining structures more effectively through this system. An evaluation of the developed system and investigation of the effectiveness to learn the domain design knowledge are undertaken.

Developing the ability to manage complexity has become an essential element for the training of designers. In such a context, complexity mainly arises from the need to integrate knowledge and expertise. The project is grounded in a hypothesis of
systematizing Meaningful Learning Activities with computer applications dedicated to the elaboration of cognitive maps, in order to develop the ability to manage the complexity of high-interaction flows which can be found in the project of energy efficiency in historic buildings. This paper focuses on two experimental courses, with the aim to assess the formative approach adopted. The results highlight an innovative procedure and a tool helpful both to trainers and to learners to assess and direct the quality of the complex design process.

Mimari tasarımda daha önceden gerçekleştirilmiş emsallerin bilgisinden yararlanarak yeni bir tasarım oluşturmak, dolayısıyla yeni bir bilgi kaynağı oluşturmak, basit bir kopyalama olarak adlandırılamaz. Bu süreç mimesis kavramı bağlamında olağan ve yaratıcı bir taklit olgusu-dur. Taklit edilen bilgi durağan bir son ürün değil; aktarılan, hareket halinde olan, yenilenen ve içinde bulunduğu paradigmaya göre tekrar tekrar biçimlenebilen bir durumdadır. Bu sebeple emsal bilgisi ve taklidinin inceleneceği bir araştırmada bilgi veya emsalin salt kendisine yönelmek yerine, bunlarla birlikte bilgisinin dönüşüm süreçleri ve ortamlarını da göz önünde bulundurmak gerekir. Mimari emsale içkin olan çok boyutlu ve ilişkili bilgi katmanları, enformasyonun edinildiği ortamın nitelikleriyle ilişkili olarak taklit edilebildiğinden, evrimsel epistemoloji yaklaşımına da temellendirilen memetik kuramı yaklaşımları; mimarlıkta emsal bilgisi incelemelerinde açılım sağlayabilecektir. Tasarımda mem kavramı ve emsal bilgisinin bilgi ortamlarıyla ilişkisinin temel konu olduğu bu metinde, mimari emsal bilgisinin incelenmesi için iki katmanlı bir çalışma yapılmıştır. Tasarımda emsal bilgisi, tasarımda mem kavramı ve tasarım hikayeleri yaklaşımı incelenmiş, mimarlık ürünlerinin yayınlandığı dijital ortamlardan bir seçki yapılmış ve enformasyonun aktarılış biçimleri ile ortamlardaki bilginin niteliği incelenmiştir. Daha sonra, mimari ürünün emsal kavramı bağlamında sahip olabileceği bilgi katmanları tanımlanarak oluşan örüntü "Mem Örüntüleri" olarak tarif edilmiştir. Son olarak, "Mimari Emsal Hikayesi" olarak adlandırılan bu örüntünün, her seferinde yeniden oluşan bir hikaye kurgusu yapısıyla kavramsallaştırma ve zihinsel temsilde bir imge oluşturduğuna dair bir değerlendirme yapılmaktadır. Anahtar sözcükler: Emsal bilgisi; memetik; mimesis; tasarım bilgisi.

Designing with the help of precedents' knowledge and constituting a new knowledge cannot be defined as a mere copy in architecture. This process is natural and creative imitation matter of fact in terms of mimesis notion. The imitated knowledge is not a final product; it is in a situation that is transferred, in motion, it is regenerated and it forms recurrently according to the paradigm that it is in. Therefore, a research, which considers precedent knowledge and its imitation, should consider also the transforming processes of the knowledge and its media, rather merely focusing on precedent or knowledge. Memetics theories, which are also grounded on evolutionary epistemology approaches, can provide expansions in precedent knowledge research in architecture, because the multi-dimensional and related knowledge layers that are implicit in architectural precedent can be imitated associated with the features of the media that the information is gained. In this article, there is an approach on the relation of precedent's information media with meme notion and precedent knowledge. Accordingly, two-layered research is done in order to look through the architectural precedent knowledge. First, meme notion in design and design studies approaches are discussed in order to establish architectural precedent knowledge layers. Afterwards, with a sampling from the digital media that present architectural products, the information's transferring type and the feature of the knowledge in the media is analysed. Consequently, the knowledge-layers that an architectural product can have in terms of precedent are defined. The patterns that are established by the knowledge-layers are defined as "Meme Patterns" and called as "Architectural Precedent Story". Finally there is an evaluation, which considers that the story re-established everytime makes a conceptualization and creates an imagination in mental representation.

Article about the production of design knowledge in the architectural profession in HORIZONTE Journal For Architectural Discourse #11 "Wissen/Knowledge".

What does architecture know? Its knowledge is often taken for granted, as a common basis of our profession. Something completed in its entirety that merely relies on memory and interpretation. It is diffcult to discern what makes its production and consumption and how they correlate. Do we know when we are moving inside the limits of knowledge and when we are leaving them?

Bauhaus-Universität Weimar, Germany

Computing architectures are being assembled that extend concurrent engineering practices by providing more efficient execution and collaboration on distributed, heterogeneous computing networks Built on the successes of Initial architectures, requirements for a next- generation design computing infrastructure can be developed These requirements concentrate on those needed by a designer in decision mak ing processes from product conception to recycling and can be categorized in two areas design process and design information management A designer both designs and executes design processes throughout design time to achieve better product and process capabilities while ex pending fewer resources In order to accomplish this, information, or more appropriately design knowledge, needs to be adequately managed during product and process decomposition as well as recomposition A foundation has been laid that captures these requirements in a design architecture called DRE AMS (Developing Robu...

To convey abstract meanings with visual elements is a frequent challenge in design. A popular vehicle of abstract meanings is the connotation of physical entities. Making designs demands a good deal of this knowledge, for the sake of novelty and appropriateness. We present two automatic knowledge extraction systems, namely VRAC and CDVS, for collecting the knowledge of physical entities and their abstract connotation. VRAC discovers connotation knowledge in general purpose semantic databases. CDVS searches in a large collection of stock photos and their annotations. In the evaluation against thirty eight distinct visual representations of six abstract concepts used in past successful advertisements, both VRAC and CDVS provide a good coverage of visual representations consisting of single objects. Besides, CDVS has the potential to excel in harvesting the abstract connotation of scenes. VRAC enjoys the agility and flexibility of being entirely textual. It can communicate fluently with other automatic tools manipulating concepts, which are very likely to appear in future creative systems. Finally, we point out that the knowledge of emergent culture symbols is a necessary complement for VRAC and CDVS.

ABSTRACT: The present study focuses on the relationship between the acquisition of design knowledge by novice design students and the quality of their designs. Design learning is typically based on action and reflec-tion. Knowledge of solution processes, being part of this ...