White Paper on Designing

White Paper on Designing

COURTESY :- vrindawan.in

Wikipedia

A white paper is a report or guide that informs readers concisely about a complex issue and presents the issuing body’s philosophy on the matter. It is meant to help readers understand an issue, solve a problem, or make a decision. A white paper is the first document researchers should read to better understand a core concept or idea.

The term originated in the 1920s to mean a type of position paper or industry report published by some department of the UK government.

Since the 1990s, this type of document has proliferated in business. Today, a business-to-business (B2B) white paper is closer to a marketing presentation, a form of content meant to persuade customers and partners and promote a certain product or viewpoint. That makes B2B white papers a type of grey literature.

The term white paper originated with the British government and many point to the Churchill White Paper of 1922 as the earliest well-known example under this name. Gertrude Bell, the British explorer and diplomat, was possibly the first woman to write a white paper. Her 149-page report was entitled “Review of the Civil Administration of Mesopotamia” and was presented to Parliament in 1920. In the British government, a white paper is usually the less extensive version of the so-called blue book, both terms being derived from the colour of the document’s cover.

White papers are a “tool of participatory democracy … not [an] unalterable policy commitment”. “White papers have tried to perform the dual role of presenting firm government policies while at the same time inviting opinions upon them.

In Canada, a white paper is “a policy document, approved by Cabinet, tabled in the House of Commons and made available to the general public”. The “provision of policy information through the use of white and green papers can help to create an awareness of policy issues among parliamentarians and the public and to encourage an exchange of information and analysis. They can also serve as educational techniques.

White papers are a way the government can present policy preferences before it introduces legislation. Publishing a white paper tests public opinion on controversial policy issues and helps the government gauge its probable impact.

By contrast, green papers, which are issued much more frequently, are more open-ended. Also known as consultation documents, green papers may merely propose a strategy to implement in the details of other legislation, or they may set out proposals on which the government wishes to obtain public views and opinion.

Examples of governmental white papers include, in Australia, the White Paper on Full Employment and, in the United Kingdom, the White Paper of 1939 and the 1966 Defence White Paper.

A design is a plan or specification for the construction of an object or system or for the implementation of an activity or process or the result of that plan or specification in the form of a prototype, product, or process. The verb to design expresses the process of developing a design. In some cases, the direct construction of an object without an explicit prior plan (such as in craft work, some engineering, coding, and graphic design) may also be considered to be a design activity. The design usually has to satisfy certain goals and constraints; may take into account aesthetic, functional, economic, or socio-political considerations; and is expected to interact with a certain environment. Typical examples of designs include architectural and engineering drawings, circuit diagrams, sewing patterns and less tangible artefacts such as business process models.

People who produce designs are called designers. The term ‘designer’ generally refers to someone who works professionally in one of the various design areas. Within the professions, the word ‘designer’ is generally qualified by the area of practice (so one may be, for example, a fashion designer, a product designer, a web designer, or an interior designer), but it can also designate others such as architects and engineers (see below: Types of designing). A designer’s sequence of activities to produce a design is called a design process, using design thinking and possibly design methods. The process of creating a design can be brief (a quick sketch) or lengthy and complicated, involving considerable research, negotiation, reflection, modeling, interactive adjustment, and re-design.

Designing is also a widespread activity outside of the professions, done by more people than just those formally recognised as designers. In his influential book The Sciences of the Artificial the interdisciplinary scientist Herbert A. Simon proposed that “Everyone designs who devises courses of action aimed at changing existing situations into preferred ones”. And according to the design researcher Nigel Cross “Everyone can – and does – design”, and “Design ability is something that everyone has, to some extent, because it is embedded in our brains as a natural cognitive function”.

Study of the history of design is complicated by varying interpretations of what constitutes ‘designing’. Many design historians, such as John Heskett, start with the Industrial Revolution and the development of mass production. Others subscribe to conceptions of design that include pre-industrial objects and art efacts, beginning their narratives of design in prehistorical times. Originally situated within art history, the historical development of the discipline of design history coalesced in the 1970s, as interested academics worked to recognize design as a separate and legitimate target for historical research. Early influential design historians include German-British art historian Nikolaus Pevsner and Swiss historian and architecture critic Sigfried Giedion.

Institutions for design education date back to the nineteenth century. The Norwegian National Academy of Craft and Art Industry was founded in 1818, followed by the United Kingdom’s Government School of Design (1837), Konst fack in Sweden (1844), and Rhode Island School of Design in the United States (1877). The German art and design school Bauhaus, founded in 1919, greatly influenced modern design education.

Design education covers the teaching of theory, knowledge and values in the design of products, services and environments, and focusses on the development of both particular and general skills for designing. It is primarily orientated to preparing students for professional design practice, and based around project work and studio or atelier teaching methods.

There are also broader forms of higher education in design studies and design thinking, and design also features as a part of general education, for example within Design and Technology. The development of design in general education in the 1970s led to a need to identify fundamental aspects of ‘designerly’ ways of knowing, thinking and acting, and hence to the establishment of design as a distinct discipline of study.

Substantial disagreement exists concerning how designers in many fields, whether amateur or professional, alone or in teams, produce designs. Design researchers Dorst and Dijkhuis acknowledge that “there are many ways of describing design processes”, and compare and contrast two dominant but different views of the design process: as a rational problem solving process and as a process of reflection-in-action. They suggested that these two paradigms “represent two fundamentally different ways of looking at the world – positivism and constructionism”. The paradigms may reflect differing views of how designing should be done and how it actually is done, and they both have a variety of names. The problem-solving view has been called “the rational model, “technical rationality” and “the reason-centric perspective”. The alternative view has been called “reflection-in-action”, “co-evolution”, and “the action-centric perspective”.

The rational model was independently developed by Herbert A. Simon, an American scientist, and two German engineering design theorists, Gerhard Pahl and Wolfgang Beitz. It posits that:

1. Designers attempt to optimize a design candidate for known constraints and objectives.
2. The design process is plan-driven.
3. The design process is understood in terms of a discrete sequence of stages.

The rational model is based on a rationalist philosophy and underlies the waterfall model, systems development life cycle, and much of the engineering design literature. According to the rationalist philosophy, design is informed by research and knowledge in a predictable and controlled manner.

Typical stages consistent with the rational model include the following:

• Pre-production design
  • Design brief – initial statement of intended outcome
  • Analysis – analysis of design goals
  • Research – investigating similar design solutions in the field or related topics
  • Specification – specifying requirements of a design solution for a product (product design specification) or service.
  • Problem solving – conceptualizing and documenting design solutions
  • Presentation – presenting design solutions
• Design during production
  • Development – continuation and improvement of a designed solution
  • Product testing – in situ testing of a designed solution
• Post-production design feedback for future designs
  • Implementation – introducing the designed solution into the environment
  • Evaluation and conclusion – summary of process and results, including constructive criticism and suggestions for future improvements
• Redesign – any or all stages in the design process repeated (with corrections made) at any time before, during, or after production.

Each stage has many associated best practices.

The rational model has been widely criticized on two primary grounds:

1. Designers do not work this way – extensive empirical evidence has demonstrated that designers do not act as the rational model suggests.
2. Unrealistic assumptions – goals are often unknown when a design project begins, and the requirements and constraints continue to change.

The action-centric perspective is a label given to a collection of interrelated concepts, which are antithetical to the rational model. It posits that:

1. Designers use creativity and emotion to generate design candidates.
2. The design process is improvised.
3. No universal sequence of stages is apparent – analysis, design and implementation are contemporary and inextricably linked.

The action-centric perspective is based on an empiricist philosophy and broadly consistent with the agile approach and methodical development. Substantial empirical evidence supports the veracity of this perspective in describing the actions of real designers. Like the rational model, the action-centric model sees design as informed by research and knowledge.

At least two views of design activity are consistent with the action-centric perspective. Both involve these three basic activities:

• In the reflection-in-action paradigm, designers alternate between “framing”, “making moves”, and “evaluating moves”. “Framing” refers to conceptualizing the problem, i.e., defining goals and objectives. A “move” is a tentative design decision. The evaluation process may lead to further moves in the design.
• In the sensemaking–coevolution–implementation framework, designers alternate between its three titular activities. Sense making includes both framing and evaluating moves. Implementation is the process of constructing the design object. Coevolution is “the process where the design agent simultaneously refines its mental picture of the design object based on its mental picture of the context, and vice versa”.

The concept of the design cycle is understood as a circular time structure, which may start with the thinking of an idea, then expressing it by the use of visual or verbal means of communication (design tools), the sharing and perceiving of the expressed idea, and finally starting a new cycle with the critical rethinking of the perceived idea. Anderson points out that this concept emphasizes the importance of the means of expression, which at the same time are means of perception of any design ideas.

Philosophy of design is the study of definitions of design, and the assumptions, foundations, and implications of design. There are also many informal ‘philosophies’ for guiding design such as personal values or preferred approaches.