Dictionary:

design

  (dĭ-zīn')

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1. 1. To conceive or fashion in the mind; invent: design a good excuse for not attending the conference.
   2. To formulate a plan for; devise: designed a marketing strategy for the new product.
2. To plan out in systematic, usually graphic form: design a building; design a computer program.
3. To create or contrive for a particular purpose or effect: a game designed to appeal to all ages.
4. To have as a goal or purpose; intend.
5. To create or execute in an artistic or highly skilled manner.

1. To make or execute plans.
2. To have a goal or purpose in mind.
3. To create designs.

1. 1. A drawing or sketch.
   2. A graphic representation, especially a detailed plan for construction or manufacture.
2. The purposeful or inventive arrangement of parts or details: the aerodynamic design of an automobile; furniture of simple but elegant design.
3. The art or practice of designing or making designs.
4. Something designed, especially a decorative or an artistic work.
5. An ornamental pattern. See synonyms at figure.
6. A basic scheme or pattern that affects and controls function or development: the overall design of an epic poem.
7. A plan; a project. See synonyms at plan.
8. 1. A reasoned purpose; an intent: It was her design to set up practice on her own as soon as she was qualified.
   2. Deliberate intention: He became a photographer more by accident than by design.
9. A secretive plot or scheme. Often used in the plural: He has designs on my job.

[Middle English designen, from Latin dēsignāre, to designate. See designate.]

Creation of an advertising campaign including any one of the individual elements, such as the illustrations, the package details, or the visual symbols, or all of the elements in the plan, as well as the plan itself.

verb

1. To form a strategy for: blueprint, cast, chart, conceive, contrive, devise, formulate, frame, lay, plan, project, scheme, strategize, work out. Informal dope out. Idioms: lay plans. See planned/unplanned.
2. To work out and arrange the parts or details of: blueprint, lay out, map (out), plan, set out. See planned/unplanned.
3. To have in mind as a goal or purpose: aim, contemplate, intend, mean, plan, project, propose, purpose, target. Regional mind. See planned/unplanned, purpose/purposelessness.

noun

1. An element or a component in a decorative composition: device, figure, motif, motive, pattern. See part/whole.
2. A method for making, doing, or accomplishing something: blueprint, game plan, idea, layout, plan, project, schema, scheme, strategy. See planned/unplanned.
3. What one intends to do or achieve: aim, ambition, end, goal, intent, intention, mark, meaning, object, objective, point, purpose, target, view, why. Idioms: end in view, why and wherefore. See planned/unplanned, purpose/purposelessness.

Definition: plan, outline
Antonyms: disorder, disorganize

1. to plan or delineate by drawing the outline of a proposed prosthesis. n 2. the graphical and artistic representation of a plan.

1. To compose a plan for a building.
2. The architectural concept of a building as represented by plans, elevations, renderings, and other drawings.
3. Any visual concept of a man-made object, as of a work of art or a machine.

Dance is a visual artform and the design of the stage and of the dancers' costumes naturally plays a major role in establishing the style and tone of any work. Narrative works may depend heavily on scenery and costumes to identify the characters and the action, a plotless ballet may take its mood from an abstract set, lighting, backdrop, or costumes. In any work, what the dancers wear will influence greatly how we look at their movement.

In the court ballets of the 15th-17th centuries artists, architects, and artisans were employed as stage designers. These ballets were often elaborate spectacles, intended to display the status of the nobility or monarchs who had commissioned them. Scenery often involved complex stage machinery designed to create magical effects while the dancers' costumes, often fantastical versions of court dress, were extremely opulent, involving highly ornamented clothes and huge wigs. When dance moved onto the stage, specialist theatre designers began to emerge and by the early 19th century some regarded themselves as poets of the theatre. As the highly formalized classical settings of the 18th century gave way to Romanticism, designers created mysterious moonlit forests for sylphs and wilis to inhabit or colourful exotic settings for gypsies and adventuresses. The invention of gas lighting made it possible to create evocative shadows, to suggest woodland glades or starry nights through which dancers flew using flying wires and harnesses. At the same time the dancers' costumes became much simpler. Ornamental wigs were out of fashion, the women's dresses featured shorter, more light-weight skirts. The men no longer wore the stiff skirt or tonnelet of the 18th century but simple tights, trunks, and tunics which gave them more freedom to move. Costumes aimed to reflect the ballet's dramatic setting, for example drifting white skirts for sylphs or versions of national or peasant costume for exotic ballets.

Towards the middle and end of the 19th century taste shifted back towards more ornamental design. Extravagantly detailed scenery reflected the period's love of spectacle, with ballets taking place in rajahs' palaces, temples, or even on storm-tossed seas. The dancers retained freedom of movement in their costumes, with the women's skirts gradually shortened to form the first version of the now familiar tutu, but authenticity was not considered essential. Ballerinas wore tutus whatever the historical or geographical setting of their role, and frequently adorned themselves with their personal jewellery. When Fokine started crusading for artistic reform in ballet (from 1904) one of his concerns was that design should more faithfully reflect subject-matter. In his own ancient Greek ballet Eunice (1907) he fought, unsuccessfully, for his dancers to perform bare-legged and with bare feet. (The Imperial Theatre's management forced him to put his dancers in flesh-coloured tights with knees and toes painted on.) But once Fokine had joined Diaghilev (who shared his belief in ballet as fully integrated theatre) he was allowed to pursue his vision of a new realism, and easel painters like Benois, Bakst, and Golovine were commissioned to create carefully researched but poetic settings for ballets like Petrushka, Scheherazade, and The Firebird. Some of these painters also began to experiment with colour and pattern as a means of defining a mood or style, such as Bakst's dappled stage canvas for Nijinsky's L' Après-midi d'un faune (1912). When the Ballets Russes entered its more radically modernist phase Diaghilev began to commission avant-garde painters whose designs brought new aesthetics from the art world onto the stage—Cubism, Fauvism, and Surrealism—sometimes even dominating the ballet, as in Picasso's Cubist ballet Parade (1917). Design by modernist painters also determined the look of many works performed by Les Ballets Suédois (1920-5) and influenced the aesthetic of choreographer Oskar Schlemmer who, aiming for a purely abstract form of dance, clothed his dancers in sculpted costumes that virtually concealed their human form. By contrast as Balanchine pursued his own version of neo-classical purity he often stripped his stages down to a bare minimum, in ballets like The Four Temperaments (revised version, 1951) and Agon (1957) putting his dancers in practice costumes on an empty stage so that the choreography would be free of visual distraction. In modern dance Graham began by working on bare stages and with her dancers wearing simple jersey dresses which revealed the uncompromising bluntness of the choreography's lines. When she began to use sets she frequently worked with the sculptor Noguchi whose free-standing sets amplified the symbolism and setting of the piece as well as providing a physical architecture on and around which the dancers could move. Cunningham, by contrast, frequently collaborated with artists whose designs were created separately from the choreography and thus had a more contingent relationship with the dance, for example Andy Warhol's helium-filled balloons which bobbed unpredictably through RainForest (1968), or Jasper Johns' free-standing set for Walkaround Time (1968) which squeezed the dancers into sometimes confined spaces. Such designs did not aim to define meanings within the choreography but to create an independent visual place within which the dance moved. Many of Cunningham's works have also been shown on bare stages and he has tended to clothe his dancers in unitards so that their movement can be plainly seen.

During the second half of the 20th century, building materials and stage machinery have become increasingly sophisticated, making it possible to build more complex sets. In Maria Bjørnson's controversial designs for the Royal Ballet's 1994 production of Sleeping Beauty the scenery was changed with a speed that looked like the closing and opening of a giant's eye and in Act II the cobwebs surrounding the sleeping Aurora magically ripped apart at the Prince's kiss. Realism, surrealism, and abstraction are now considered equal options for any dance designer.

In some dances the set is central to the entire conception and execution of the piece. Japanese choreographer and designer Saburo Teshigawara has created work like Bones in Pages (1991) which takes place in a kind of art installation and with which the choreography is created specifically to interact. DV8's Strange Fish (des. Peter Davison, 1992) had a set constructed with numerous cubbyholes, doors, and footholds which allowed the dancers to make abrupt entrances and exits from all round the stage, as well as a false water tank beneath the floor in which dancers were briefly immersed. Lighting has also become far more sophisticated with the advent of computer-operated systems. Artists like Rosenthal established lighting as a major design force in the 1940s and 1950s, not only cueing day- or night-time and basic mood but also defining the stage space. In Dana Reitz and Sara Rudner's 1993 work Necessary Weather lighting designer Tipton was actually listed as co-choreographer, creating pools and columns of light within and around which the dancers moved, casting them into silhouette or colour that altered the apparent dynamic of the movement.

In the late 20th century almost all costume options were now available to dance from historically realistic costumes to tutus, jeans, designer clothes, and nudity. Most costumes aim to flatter the dancers and give them freedom to move—although many choreographers, such as Yolande Snaith, Michael Clark, and Philippe Decouflé, may also use constricting or distorting costumes for surreal or dramatic effect.

The idea that the natural world exhibits evidence of design is very ancient, finding its first formal expression in the writings of the Greek philosophers. Plato (c. 428–347 B.C.E.) asserted that inert matter is incapable of motion and that movement and change in an orderly cosmos are suggestive of a supreme, superintending mind. His pupil Aristotle (384–322 B.C.E.) agreed that there is goal-directed activity in nature, but attributed this activity to the inherent tendencies of objects to fulfill their natural ends. These immanent "final causes" are thus suggestive of purpose or "teleology" in nature, but this purpose is nondeliberative and does not call for a divine designer. In the thirteenth century these two strands of argument were woven together by Saint Thomas Aquinas (c. 1226–1274), who established the position that was to become normative for the later Middle Ages and much of the early modern period. Aquinas adopted the Aristotelian view that natural objects exhibit goal-directed activity, but followed Plato in asserting that such purposefulness in the world has its origin in a creative, intelligent being—now identified as the Christian God.

Design and the New Science

The early modern period witnessed a significant revival of interest in the argument from design. It came to provide an important foundation for natural history and natural philosophy and assumed a central role in theological arguments for God's existence. Many figures prominent in the Scientific Revolution made reference to design in nature, but it was English scientists in the seventeenth and eighteenth centuries who proved most enthusiastic in their endorsement of the idea. Robert Boyle (1627–1691), one of the founders of modern chemistry and a champion of the new mechanical philosophy, argued that no robust explanation of natural phenomena could omit reference to divine purposes. An account of a watch would be incomplete if mention were made only of the mechanical dispositions and motions of the parts without reference to the use that the maker intended the watch to serve. Similar considerations, Boyle insisted, applied in the sphere of nature. The analogy of the divine watchmaker subsequently became a commonplace in both natural theology and natural history, receiving its definitive articulation in William Paley's classic Natural Theology (1802). Given the intimate connection between the new science and the idea of design, it is fitting that the greatest scientist of the period, Isaac Newton (1642–1727), should have included the design argument in a later edition of his masterwork, Mathematical Principles of Natural Philosophy (1687). Here he observed that the beautiful arrangement of the sun, planets, and comets could only have proceeded from the wisdom and power of an intelligent being.

If the earliest works on design had tended to focus on the clockwork of the cosmos, from the eighteenth century attention turned toward the remarkable adaptations or "contrivances" of living things. John Ray (1627–1705), a pioneering taxonomist and natural historian, wrote The Wisdom of God Manifested in the Works of Creation in 1691, establishing a pattern that other naturalists would follow for the next hundred and fifty years. In this work he listed numerous instances of the adaptations of living things, arguing that they could not have been the products of chance and thus constituted evidence of divine wisdom. While the concept of design was important primarily in the natural sciences, it also came to assume a role in the social sciences. Scottish moral philosopher and political economist Adam Smith (1723–1790) thus saw evidence of design in the propensities with which human beings had been endowed, for the pursuit of individual interests led to unintended social goods.

Design and Natural Theology

In the eighteenth century the notion of design became the prevailing paradigm in both natural history and natural theology. In addition to providing an ordering principle for the study of nature, the idea of design also provided a theological sanction for the new scientific enterprises. In the sphere of natural theology, the design argument all but displaced the other two classical arguments for God's existence—the ontological and cosmological arguments. These came to be regarded as abstract and logically complex. Unlike the design argument, they were not based on induction and hence did not mesh with the methods of the sciences. The dominant form of natural theology in the eighteenth century thus became known as "physicotheology," a combination of physics (in the broad sense of the study of nature) and theology.

This admixture of natural science and theology was not without its critics. In the seventeenth century both Francis Bacon (1561–1626) and René Descartes (1596–1650) had opposed the incorporation of final causes into scientific explanation—Bacon because he thought that explanation in terms of purposes hindered the quest for physical causes, Descartes because he thought God's purposes were ultimately unknowable. Boyle's arguments in favor of physicotheological explanations were partly intended as a response to Descartes. Subsequently, the Scottish philosopher David Hume (1711–1776) highlighted fundamental weaknesses in the analogical aspects of the argument from design in his Dialogues concerning Natural Religion, posthumously published in 1779. Hume's arguments did not have a major impact on either popular or scientific audiences, no doubt due to the lack of alternative explanations for the adaptations of living things. Such an alternative had to await the appearance in 1859 of Charles Darwin's Origin of Species, which enumerated a number of possible mechanisms for organic adaptation, including natural selection.

Anthropocentrism, Teleology, and Final Causes

There are three common confusions about the idea of design in the early modern period. First is the mistaken view that the design argument is essentially anthropocentric—asserting that all things in nature were designed for human use. In fact most early modern advocates of the design argument readily conceded that certain features of nature had not been designed solely for human use. Second, "teleology" and "design" are commonly regarded as synonymous, but they are not. Aristotle posited teleology without design, and some nineteenth-century zoologists were to propose design without teleology. Third, and related to the previous point, "final causes" may be understood as immanent in natural objects, or as transcendent divine purposes. Final causes in the first sense had many trenchant critics in the early modern period, but most were willing to admit final causes in the second sense. Confusion on this last point contributed to seventeenth-century debates about the propriety of invoking final causes in natural history and natural philosophy.

The prominence of the idea of design in the early modern period is indicative of the mutual support of theology and natural science characteristic of the era. By the same token, it has been argued that the reduction of natural theology to a single set of inductive arguments paradoxically played a role in the emergence of a secular view of nature. So much had been invested in a single physicotheological argument that the triumph of natural selection as an alternative explanation of organic adaptation dealt a telling blow to theological interpretations of nature.

Bibliography

Primary Sources

Boyle, Robert. A Disquisition about the Final Causes of Natural Things. London, 1688.

Paley, William. Natural Theology: Or, Evidences of the Existence and Attributes of the Deity, Collected from the Appearances of Nature. London, 1802.

Ray, John. The Wisdom of God Manifested in the Works of Creation. London, 1691.

Secondary Sources

Brooke, John Hedley. Science and Religion: Some Historical Perspectives. Cambridge, U.K., 1991. Chapter 6 explores eighteenth-century links between natural theology and natural history.

Harrison, Peter. The Bible, Protestantism and the Rise of Natural Science. Cambridge, U.K., 1998. Chapter 5 gives an account of the rise to prominence of the notion of design in early modern thought.

Osler, Margaret J. "From Immanent Natures to Nature as Artifice: The Reinterpretation of Final Causes in Seventeenth-Century Natural Philosophy." The Monist 79 (1996): 388–407. Traces the move away from the Aristotelian understanding of final causes as immanent in nature to the idea of final causes as externally imposed divine purposes.

—PETER HARRISON

Quotes:

"Designs in connection with postage stamps and coinage may be described, I think, as the silent ambassadors on national taste." - William Butler Yeats

"The complaint about modern steel furniture, modern glass houses, modern red bars and modern streamlined trains and cars is that all these objets modernize, while adequate and amusing in themselves, tend to make the people who use them look dated. It is an honest criticism. The human race has done nothing much about changing its own appearance to conform to the form and texture of its appurtenances." - Elwyn Brooks White

"Design is not for philosophy -- it's for life." - Issey Miyake

"Design in art, is a recognition of the relation between various things, various elements in the creative flux. You can't invent a design. You recognize it, in the fourth dimension. That is, with your blood and your bones, as well as with your eyes." - D. H. Lawrence

"Art has to move you and design does not, unless it's a good design for a bus." - David Hockney

"Retail is detail." - James Gulliver

See more famous quotes about Design

All Saints Chapel in the Cathedral Basilica of St. Louis by Louis Comfort Tiffany. The building structure and decorations are both examples of design.

A drawing for a booster engine for steam locomotives. Engineering is applied to design, with emphasis on function and the utilization of math and science.

Design, when applied to fashion, includes considering aesthetics as well as function in the final form.

Design, usually considered in the context of the applied arts, engineering, architecture, and other such creative endeavors, is used both as a noun and a verb. As a verb, "to design" refers to the process of originating and developing a plan for a product, structure, system, or component. As a noun, "a design" is used for both the final (solution) plan (e.g. proposal, drawing, model, description) or the result of implementing that plan (e.g. object produced, result of the process). More recently, processes (in general) have also been treated as products of design, giving new meaning to the term "process design".

Designing normally requires a designer considering aesthetic, functional, and many other aspects of an object or process, which usually requires considerable research, thought, modeling, interactive adjustment, and re-design.

Philosophies and studies of design

There is no universal language or unifying institution for designers of all disciplines. Raised levels of achievement often lead to raised expectations. In structuration theory, design is both medium and outcome generating a Janus like face, with every ending marking a new beginning.

There are countless philosophies for guiding design as the design values and its accompanying aspects within modern design vary, both between different schools of thought and among practicing designers.^[1] Design philosophies are usually for determining design goals. A design goal may range from solving the least significant individual problem of the smallest element to the most holistic influential utopian goals. Design goals are usually for guiding design; however, conflicts over immediate and minor goals may lead to questioning the purpose of design, perhaps to set better long term or ultimate goals.

Philosophies for guiding design

A design philosophy is a guide to help make choices when designing. An example of a design philosophy is “dynamic change” to achieve the elegant or stylish look you need.

Approaches to design

A design approach is a general philosophy that may or may not include a guide for specific methods. Some are to guide the overall goal of the design. Other approaches are to guide the tendencies of the designer. A combination of approaches may be used if they don't conflict.

Some popular approaches include:

• User centered design, which focuses on the needs, wants, and limitations of the end user of the designed artifact
• Use-centered design, which focuses on how it will be used with less emphasis on the user than user-centered design
• KISS principle, (Keep it Simple, Stupid), which strives to eliminate unnecessary complications
• There is more than one way to do it (TMTOWTDI), a philosophy to allow multiple methods of doing the same thing
• Murphy's Law (things will go wrong in any given situation, if you give them a chance)

Philosophies for methods of designing

Main article: Design methods

Design Methods is a broad area that focuses on:

• Exploring possibilities and constraints by focusing critical thinking skills to research and define problem spaces for existing products or services—or the creation of new categories; (see also Brainstorming)
• Redefining the specifications of design solutions which can lead to better guidelines for traditional design activities (graphic, industrial, architectural, etc.);
• Managing the process of exploring, defining, creating artifacts continually over time
• Prototyping possible scenarios, or solutions that incrementally or significantly improve the inherited situation

Philosophies for the purpose of designs

In philosophy, the abstract noun "design" refers to a pattern with a purpose. Design is thus contrasted with purposelessness, randomness, or lack of complexity.

To study the purpose of designs, beyond individual goals (e.g. marketing, technology, education, entertainment, hobbies), is to question the controversial politics, morals, ethics and needs such as Maslow's hierarchy of needs. "Purpose" may also lead to existential questions such as religious morals and teleology. These philosophies for the "purpose of" designs are in contrast to philosophies for guiding design or methodology.

Often a designer (especially in commercial situations) is not in a position to define purpose. Whether a designer is, is not, or should be concerned with purpose or intended use beyond what they are expressly hired to influence, is debatable, depending on the situation. Not understanding or disinterest in the wider role of design in society might also be attributed to the commissioning agent or client, rather than the designer.

Design Education

Design Education uses the study of design movements and their sociohistoric significance to teach progressive solutions to human problems. The sociohistoric significance of design encompasses every change and interaction between people and their environment. The use of design education in classrooms and colleges can mark an active commitment to human conditions rather than passive intake of information for future regurgitation or commercialization. ^{[citation needed]} Studying design teaches us to better formulate the problem to which we seek a solution.

Design as a process

Design as a process can take many forms depending on the object being designed and the individual or individuals participating.

Defining a design process

According to video game developer Dino Dini in a talk given at the 2005 Game Design and Technology Workshop held by Liverpool JM University, design underpins every form of creation from objects such as chairs to the way we plan and execute our lives. For this reason it is useful to seek out some common structure that can be applied to any kind of design, whether this be for video games, consumer products or one's own personal life.

For such an important concept, the question "What is Design?" appears to yield answers with limited usefulness. Dino Dini states that the design process can be defined as "The management of constraints". He identifies two kinds of constraint, negotiable and non-negotiable. The first step in the design process is the identification, classification and selection of constraints. The process of design then proceeds from here by manipulating design variables so as to satisfy the non-negotiable constraints and optimizing those which are negotiable. It is possible for a set of non-negotiable constraints to be in conflict resulting in a design with no solution; in this case the non-negotiable constraints must be revised. For example, take the design of a chair. A chair must support a certain weight to be useful, and this is a non-negotiable constraint. The cost of producing the chair might be another. The choice of materials and the aesthetic qualities of the chair might be negotiable.

Dino Dini theorizes that poor designs occur as a result of mismanaged constraints, something he claims can be seen in the way the video game industry makes "Must be Fun" a negotiable constraint where he believes it should be non-negotiable.

It should be noted that "the management of constraints" may not include the whole of what is involved in "constraint management" as defined in the context of a broader Theory of Constraints, depending on the scope of a design or a designer's position.

An architect at his drawing board, 1893. The Peter Arno phrase "Well, back to the old drawing board" makes light of the fact that designs sometimes fail and redesign is necessary. The phrase has meaning beyond structural designs and is an idiom when a drawing board is not used in a design.

Redesign Something that is redesigned requires a different process than something that is designed for the first time. A redesign often includes an evaluation of the existent design and the findings of the redesign needs are often the ones that drive the redesign process.

Typical steps

A design process may include a series of steps followed by designers. Depending on the product or service, some of these stages may be irrelevant, ignored in real-world situations in order to save time, reduce cost, or because they may be redundant in the situation.

Typical stages of the design process include:

• Pre-production design
  • Design brief - a statement of design goals
  • Analysis - analysis of current design goals
  • Research - investigating similar design solutions in the field or related topics
  • Specification - specifying requirements of a design solution
  • Problem solving - conceptualizing and documenting design solutions
  • Presentation - presenting design solutions
• Design during production
  • Development - continuation and improvement of a designed solution
  • Testing - in-situ testing 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.

Terminology

The word "design" is often considered ambiguous depending on the application.

Design and art

Design is often viewed as a more rigorous form of art, or art with a clearly defined purpose. The distinction is usually made when someone other than the artist is defining the purpose. In graphic arts the distinction is often made between fine art and commercial art.

In the realm of the arts, design is more relevant to the "applied" arts, such as architecture and product design. In fact today the term design is widely associated to modern industrial product design as initiated by Raymond Loewy.

Design implies a conscious effort to create something that is both functional and aesthetically pleasing. For example, a graphic artist may design an advertisement poster. This person's job is to communicate the advertisement message (functional aspect) and to make it look good (aesthetically pleasing). The distinction between pure and applied arts is not completely clear, but one may consider Jackson Pollock's (often criticized as "splatter") paintings as an example of pure art. One may assume his art does not convey a message based on the obvious differences between an advertisement poster and the mere possibility of an abstract message of a Jackson Pollock painting. One may speculate that Pollock, when painting, worked more intuitively than would a graphic artist, when consciously designing a poster.

Design and engineering

Engineering is often viewed as a more rigorous form of design. Contrary views suggest that design is a component of engineering aside from production and other operations which utilize engineering. A neutral view may suggest that both design and engineering simply overlap, depending on the discipline of design. The American Heritage Dictionary defines design as: "To conceive or fashion in the mind; invent," and "To formulate a plan", and defines engineering as: "The application of scientific and mathematical principles to practical ends such as the design, manufacture, and operation of efficient and economical structures, machines, processes, and systems." ^[2][3]. Both are forms of problem-solving with a defined distinction being the application of "scientific and mathematical principles". How much science is applied in a design is a question of what is considered "science". Along with the question of what is considered science, there is social science versus natural science. Scientists at Xerox PARC made the distinction of design versus engineering at "moving minds" versus "moving molecules".

Design and production

The relationship between design and production is one of planning and executing. In theory, the plan should anticipate and compensate for potential problems in the execution process. Design involves problem-solving and creativity. In contrast, production involves a routine or pre-planned process. A design may also be a mere plan that does not include a production or engineering process, although a working knowledge of such processes is usually expected of designers. In some cases, it may be unnecessary and/or impractical to expect a designer with a broad multidisciplinary knowledge required for such designs to also have a detailed knowledge of how to produce the product.

Design and production are intertwined in many creative professional careers, meaning problem-solving is part of execution and the reverse. As the cost of rearrangement increases, the need for separating design from production increases as well. For example, a high-budget project, such as a skyscraper, requires separating (design) architecture from (production) construction. A Low-budget project, such as a locally printed office party invitation flyer, can be rearranged and printed dozens of times at the low cost of a few sheets of paper, a few drops of ink, and less than one hour's pay of a desktop publisher.

This is not to say that production never involves problem-solving or creativity, nor design always involves creativity. Designs are rarely perfect and are sometimes repetitive. The imperfection of a design may task a production position (e.g. production artist, construction worker) with utilizing creativity or problem-solving skills to compensate for what was overlooked in the design process. Likewise, a design may be a simple repetition (copy) of a known preexisting solution, requiring minimal, if any, creativity or problem-solving skills from the designer.

Process design

"Process design" (in contrast to "design process") refers to planning the routine steps of a process aside from the expected result. Processes (in general) are treated as a product of design, not the method of design. The term originated with the industrial designing of chemical processes. With the increasing complexities of the information age, consultants and executives have found the term useful to describe the design of business processes as well as manufacturing processes.

See also

Design disciplines

Commerce Business design New product development Packaging design Product design Service design Applications Experience design Game design Interaction design[4] Software engineering Software design Software development System design User experience design User interface design Web accessibility Web design

Communications Color design Communication design Content designer Graphic design Information design Instructional design Motion graphic design News design Packaging design Production design Sound design Theatrical design Typography Visual communication Scientific and mathematical Combinatorial design[5] Design of experiments

Physical Architectural design Architectural engineering Automotive design Cellular manufacturing Ceramic and glass design Design engineer Environmental design Fashion design Floral design Furniture design Garden design Industrial design Interior design/redesign Landscape architecture Mechanical engineering Sustainable design Urban design

Design approaches and methods

Co-Design Creative problem solving Creativity techniques Design-build Design for X Design management

Design thinking Engineering design process Error-tolerant design Fault tolerant design Functional design Mind mapping

Open design Participatory design[6] Reliable system design TRIZ Universal design User innovation

Other design related topics

Design organizations European Design Awards Design tools Computer-aided design[7] Graphic organizers

Studying design Critical design Design research Wicked problems[8]

Impact of design Creative industries Design classic

Footnotes

1. ^ Holm, Ivar (2006). Ideas and Beliefs in Architecture and Industrial design: How attitudes, orientations and underlying assumptions shape the built environment. Oslo School of Architecture and Design. ISBN 8254701741.
2. ^ American Psychological Association (APA): design. (n.d.). The American Heritage® Dictionary of the English Language, Fourth Edition. Retrieved January 10, 2007, from Dictionary.com website: http://dictionary.reference.com/browse/design
3. ^ American Psychological Association (APA): engineering. (n.d.). The American Heritage® Dictionary of the English Language, Fourth Edition. Retrieved January 10, 2007, from Dictionary.com website: http://dictionary.reference.com/browse/engineering
4. ^ Examines the role of embedded behaviour in human environments.
5. ^ Concerns the existence and construction of mathematical set systems that have specified numerical properties.
6. ^ Actively involving users in the design process.
7. ^ Drafting and other forms of modelling.
8. ^ Includes economic, environmental and political issues.

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Common misspelling(s) of designed

• dessigned
• desgined

Dansk (Danish)
n. - design, plan, mønster, dekoration, hensigt, form, konstruktion, model, udførelse
v. tr. - designe, konstruere, planlægge, beregne
v. intr. - være designer

idioms:

• by design    med vilje, planlagt
• have designs on    have planer med

Nederlands (Dutch)
ontwerp, opzet, design (vormgeving), dessin, plan/opzet, ontwerpen, uitdenken, bedoelen, construeren

Français (French)
n. - dessein, intention, projet, plan, dessin, croquis, ébauche, étude, conception, style, ligne de, esthétique, design, look, stylisme, création (industrielle), motif
v. tr. - concevoir, être destiné à qch/à faire, dessiner le patron de, créer, dessiner/faire les plans de
v. intr. - ébaucher, esquisser, faire un plan de

idioms:

• by design    à dessein
• have designs on    avoir des vues sur, avoir des dessins sur

Deutsch (German)
v. - entwerfen, planen, beabsichtigen
n. - Entwurf, Plan, Design, Gestaltung, Muster, Absicht

idioms:

• by design    absichtlich
• have designs on    ein Auge haben auf, es auf jmdn. abgesehen haben

Ελληνική (Greek)
v. - σχεδιάζω, επινοώ, εκπονώ μελέτη ή σχέδιο
n. - σχεδίαση, (κακοπροαίρετη) επιδίωξη, βλέψη ή πρόθεση, σκοπιμότητα, απώτερος σκοπός, τεχνική μελέτη ή σχεδίαση, διακοσμητικό σχέδιο, εκπόνηση, μελέτη, διάταξη (στοιχείων κατασκευάσματος)

idioms:

• by design    σκοπίμως, σκόπιμα
• have designs on    έχω βλέψεις σε

Italiano (Italian)
abbozzare, progettare, progetto, disegno

idioms:

• by design    premeditato
• have designs on    avere delle mire su

Português (Portuguese)
v. - projetar, desenhar, idealizar
n. - projeto (m), modelo (m)

idioms:

• by design    intencionalmente
• have designs on    cobiçar

Русский (Russian)
разрабатывать, проектировать, план, проект, разработка, дизайн

idioms:

• by design    нарочно
• have designs on    иметь замыслы на

Español (Spanish)
n. - propósito, intención, diseño, bosquejo, plan, proyecto, estilización, dibujo, estilo, trama
v. tr. - trazar, diseñar, proyectar, idear, concebir, dedicar pienso
v. intr. - trazar, diseñar, idear, dibujar, bosquejar

idioms:

• by design    intencionalmente, a propósito
• have designs on    tener la mira puesta en, poner los ojos en

Svenska (Swedish)
v. - utforma, formge, skissera, planera
n. - formgivning, utformning, skiss, utkast

中文（简体） (Chinese (Simplified))
设计, 花样, 图案, 打算将...用作, 构思, 绘制, 计划, 画图样, 谋划, 当设计师

idioms:

• by design    故意地
• have designs on    抱不良企图

中文（繁體） (Chinese (Traditional))
n. - 設計, 花樣, 圖案
v. tr. - 設計, 打算將...用作, 構思, 繪製, 計劃
v. intr. - 設計, 畫圖樣, 計劃, 謀劃, 當設計師

idioms:

• by design    故意地
• have designs on    抱不良企圖

한국어 (Korean)
n. - 밑그림, 설계, 구상, 뜻을 품다
v. tr. - 설계하다, 밑그림을 그리다, (어떤 목적을) 계획하다
v. intr. - 밑그림을 만들다, ~할 계획이다, 설계하다

idioms:

• by design    고의로
• have designs on    ~에게 살의를 품다

日本語 (Japanese)
n. - デザイン, 図案, 意匠, 柄, 模様, 設計, 構想, 筋書き, 意図, たくらみ
v. - デザインする, 設計する, 考案する, 計画する

idioms:

• by design    故意に
• have designs on    …をねらっている

العربيه (Arabic)
‏(فعل) يصمم شئ بعمل مخططات ورسومات له, يخطط (الاسم) تصميم, مخطط, فن التصميم‏

עברית (Hebrew)
n. - ‮תוכנית, תרשים, מידגם, דוגמה, שרטוט, מודל, תכנון, עיצוב, כוונה‬
v. tr. - ‮תכנן, שרטט, עיצב, תיכן‬
v. intr. - ‮תכנן, שרטט, עיצב‬

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