In this article, I outline a logic of design of a system as a specific kind of conceptual logic of the design of the model of a system, that is, the blueprint that provides information about the system to be created. In section two, I introduce the method of levels of abstraction as a modelling tool borrowed from computer science. In section three, I use this method to clarify two main conceptual logics of information inherited from modernity: Kant’s transcendental logic (...) of conditions of possibility of a system, and Hegel’s dialectical logic of conditions of in/stability of a system. Both conceptual logics of information analyse structural properties of given systems. Strictly speaking, neither is a conceptual logic of information about the conditions of feasibility of a system, that is, neither is a logic of information as a logic of design. So, in section four, I outline this third conceptual logic of information and then interpret the conceptual logic of design as a logic of requirements, by introducing the relation of “sufficientisation”. In the conclusion, I argue that the logic of requirements is exactly what we need in order to make sense of, and buttress, a constructionist approach to knowledge. (shrink)

This paper describes the role of information architecture in the design of socially sustainable pervasive information spaces. The framing of information architecture as an essential part of Design Thinking extends current and historic notions of the field of information architecture. The discussion introduces the notion of the ‘contrived ontology’ which can be understood as the intentional meaning that design infuses in its artefacts, services and systems. Further, we argue that contrived ontology aligns with central themes within humanistic frameworks which view (...) reality as subjective construct. This forms the central theoretical meditation herein: we contend that while design is always an act of interpreted cultural determination, at the scale of Floridi’s infosphere, the immediacy and immersive social reality of technology will become frictionless within our human experience. As this occurs, there is a moral and ethical imperative to ensure social sustainability and to this end that the meanings and intentions that inform the mature design of our human-made world are visible and accountable. It is towards this end that information architecture can make a valuable contribution. (shrink)

This article discusses the epistemology of design as a process, arguing specifically that sketching and drawing are essential modes of thinking and reasoning. It demonstrates that the commonly accepted notion of a spontaneous and intuitive vision in the mind’s eye—encapsulated in the cliché of the napkin sketch—obscures the exploratory inferences that are made while scribbling with a pencil on a sheet of paper. The draughtsperson, along with their work tools, modes of notation, specific techniques, and epistemic strategies as well as (...) the resulting design artefacts form milieus of reflection that facilitate complex processes of exploration. Case studies, including the genesis of the Mini by Alec Issigonis, samples of work by Alvar Aalto, and a reinterpretation of student sketches from a classical design study by Gabriela Goldschmidt, serve to illustrate how drawing inferences with pencil and paper occurs. (shrink)

This article discusses the epistemology of design as a process, arguing specifically that sketching and drawing are essential modes of thinking and reasoning. It demonstrates that the commonly accepted notion of a spontaneous and intuitive vision in the mind’s eye—encapsulated in the cliché of the napkin sketch—obscures the exploratory inferences that are made while scribbling with a pencil on a sheet of paper. The draughtsperson, along with their work tools, modes of notation, specific techniques, and epistemic strategies as well as (...) the resulting design artefacts form milieus of reflection that facilitate complex processes of exploration. Case studies, including the genesis of the Mini by Alec Issigonis, samples of work by Alvar Aalto, and a reinterpretation of student sketches from a classical design study by Gabriela Goldschmidt, serve to illustrate how drawing inferences with pencil and paper occurs. (shrink)