rom the Back Cover
The concept of ‘designerly ways of knowing’ emerged in the late 1970s in association with the development of new approaches in design education. Professor Nigel Cross first clearly articulated this concept in a paper called ‘Designerly Ways of Knowing’ which was published in the journal Design Studies in 1982. Since then, the field of study has grown considerably, as both design education and design research have developed together into a new discipline of design. This book provides a unique insight into a field of study with important implications for design research, education and practice. Professor Nigel Cross is one of the most internationally-respected design researchers and this book is a revised and edited collection of key parts of his published work from the last quarter century. Designerly Ways of Knowing traces the development of a research interest in articulating and understanding the nature of design cognition, and the concept that designers (whether architects, engineers, product designers, etc.) have and use particular ‘designerly’ ways of knowing and thinking. There are chapters covering the following topics: the nature and nurture of design ability; creative cognition in design; the natural intelligence of design; design discipline versus design science; and, expertise in design. As a timeline of scholarship and research, and a resource for understanding how designers think and work, Designerly Ways of Knowing will be of interest to researchers, teachers and students of design; design practitioners and design managers.
Nigel Cross is Professor of Design Studies at the UK’s Open University and a leading international figure in the world of design research. With academic and practical backgrounds in architecture and industrial design, he has conducted research in computer-aided design, design methodology and design education since the nineteen-sixties. His current principal research interest is in design cognition, based on studies of expert and exceptional designers. He has been a member of the academic staff of the pioneering, multi-media Open University since 1970, where he has been responsible for, or instrumental in, a wide range of distance education courses in design and technology. For many years Professor Cross was Head of the Department of Design and Innovation at the Open University – a department with one of the strongest research records in Art and Design in the UK. Recent books by Professor Cross include the third edition of his successful textbook on Engineering Design Methods (Wiley, 2000), and he has been a co-editor of books on Research in Design Thinking, Analysing Design Activity and Expertise in Design. His total publications list includes more than 120 items, plus many Open University course texts, broadcasts, etc. Professor Cross is also Editor-in-Chief of the international journal of Design Studies.
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说实话,刚翻开这本书的时候,我有点被它那种深沉的学术气息震慑住了,以为会是一次枯燥的阅读体验。然而,一旦沉浸进去,那种感觉就完全不同了。作者的文字功力实在了得,他总能在看似不经意的段落中,抛出足以让人停下来深思许久的金句。这本书的结构设计也非常巧妙,它不是线性的知识灌输,更像是螺旋上升的探索过程。每一章都在前一章的基础上提出了更复杂、更具挑战性的问题,引导读者主动去构建属于自己的理解框架。我特别喜欢其中关于“具身认知”的那一节,作者结合了大量的跨学科研究,将身体的感知与知识的形成紧密联系起来,这彻底颠覆了我过去那种“知识是纯粹头脑活动”的看法。这本书的阅读门槛虽然不低,但只要愿意投入时间,它给予的回报是巨大的,它教会我的不仅仅是知识本身,更是一种提问和质疑的能力。
评分我必须承认,这本书的阅读过程并非一帆风顺,有好几次我都想把它搁置一边。它要求读者具备相当的耐心和对复杂概念的耐受力。然而,正是这种挑战性,成就了它非凡的价值。作者在构建他的理论体系时,展现出了惊人的跨领域整合能力,他信手拈来地引用了现象学、符号学乃至人类学的观点,并将它们编织成一个关于“认知美学”的宏大叙事。特别是关于“意向性”的深入剖析,对我理解艺术创作的底层逻辑起到了决定性的作用。这本书的伟大之处在于,它迫使你跳出自己的专业壁垒,从一个更广阔的视角审视知识的生成脉络。读完后,我感觉自己对“设计”这个词的理解不再是表面的技巧,而上升到了哲学的高度,这是一种非常令人振奋的心灵体验。
评分这本书带给我的冲击,是那种潜移默化的、长期的影响。它不像那些畅销书那样提供立竿见影的“秘籍”,它更像是一位老练的导师,引导你走上一条更具深度的思考之路。我发现自己最近在处理项目时,不再急于寻找“最佳答案”,而是花更多时间去界定“正确的问题”。作者在书中对“实践中的智慧”的论述,简直是教科书级别的精彩。他没有回避实践中必然出现的模糊性、不确定性和伦理困境,反而将其视为知识生成过程中不可或缺的一部分。对我而言,最宝贵的一点是,它让我接受了知识获取过程中的不完美性,学会了与“灰色地带”共处。这本书的语言风格是极其克制且精准的,每一个用词都经过深思熟虑,读起来有一种熨帖的、被尊重的阅读体验,绝对是那种值得反复翻阅、每次都有新发现的典藏之作。
评分这本书简直是知识的宝库,我花了整整一个周末才啃完第一遍,那种感觉就像是打开了一个全新的认知世界。作者的叙事方式非常引人入胜,他并没有采用那种枯燥的学术说教,而是通过一系列生动的案例和深入的哲学思考,将那些抽象的概念变得触手可及。特别是关于“设计思维”的探讨,远超出了我们通常理解的“解决问题”的范畴,它更像是一种全新的观察世界、与世界互动的方式。我尤其欣赏作者对于不同文化背景下“知道”(Knowing)的方式的对比分析,这让我开始重新审视自己过去习以为常的思维定势。书中的图文排版也极其考究,每一张插图似乎都在无声地诉说着某种深层次的含义,配合文字阅读,简直是一种享受。读完之后,我感觉自己的思维结构被重新搭建了一遍,看待日常事务的视角都有了质的飞跃。那种思维被拓宽、被挑战的兴奋感,是很多同类书籍难以给予的。
评分这本厚重的著作,与其说是一本书,不如说是一场漫长而深刻的对话。作者的语气非常诚恳,他似乎并不想“教导”读者,而是邀请读者一同进入一个充满未解之谜的探索场域。我尤其欣赏他对“无意识的知识库”的描绘,那些我们习以为常、却从未能清晰言说的直觉和经验,在作者的笔下被赋予了清晰的结构和名称。这使得我对自己日常工作中的一些“灵光一现”有了更科学、更哲学的解释基础。这本书的排版和装帧也体现了一种匠人精神,纸张的触感、字体的选择,都无声地呼应了书中对“物质性”和“在场感”的强调。它不是那种快速消费的读物,它是需要时间去沉淀、去消化的精神食粮,每一次重读,都能在旧的理解上添砖加瓦,构建起更稳固、更精妙的认知大厦。
评分这本书写得十分好,必读。虽然写得很早,但是内容依旧光辉。对现在应对新环境新角色的迷茫的设计师,十分有帮助。十分成功地抓住设计行为的本质。
评分这本书写得十分好,必读。虽然写得很早,但是内容依旧光辉。对现在应对新环境新角色的迷茫的设计师,十分有帮助。十分成功地抓住设计行为的本质。
评分这本书写得十分好,必读。虽然写得很早,但是内容依旧光辉。对现在应对新环境新角色的迷茫的设计师,十分有帮助。十分成功地抓住设计行为的本质。
评分这本书写得十分好,必读。虽然写得很早,但是内容依旧光辉。对现在应对新环境新角色的迷茫的设计师,十分有帮助。十分成功地抓住设计行为的本质。
评分这本书写得十分好,必读。虽然写得很早,但是内容依旧光辉。对现在应对新环境新角色的迷茫的设计师,十分有帮助。十分成功地抓住设计行为的本质。
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