Design representations play a crucial role in facilitating communication between individuals in design. Sketches and physical prototypes are frequently used to communicate design concepts in early-stage design. However, we lack an understanding of the communicative benefits each representation provides and how these benefits relate to the effort and resources required to create each representation. A mixed-methods study was conducted with 44 participants to identify whether sketches and physical prototypes led to different levels of cognitive load perceived by a communicator and listener and the characteristics that shape their cognitive load during communication. Results showed that listeners perceived higher levels of mental and physical demands when understanding ideas as low-fidelity physical prototypes, as compared to sketches. No significant differences were found in the cognitive load levels of communicators between the two conditions. Qualitative analyses of post-task semi-structured interviews identified five themes relating to verbal explanations and visual representations that shape designers’ cognitive load when understanding and communicating ideas through design representations. Results indicate that designers should be aware of the specific objectives they seek to accomplish when selecting the design representation used to communicate. This work contributes to the knowledge base needed for designers to use design representations more effectively as tools for communication.

Perceived quality refers to customers’ cognitive and emotional responses to a particular design, often also associated with craftsmanship and customer satisfaction. Previous research defined a taxonomy of perceived quality and provided understanding about how engineering design decisions impact customer satisfaction. Furthermore, development of new products is frequently based on carrying over attributes of existing products, either from the same producer or from competitors. Previous research offered a new product development methodology combining variations of subsystems to carry over from existing products. This brief presents how these two lines of research combined to design the central console of the Porsche Panamera automobile and discusses the opportunities and challenges posed in the practical implementation of this research.

Traceability of information provides the basis for assessing the credibility of engineering information, better understanding it, and making judgments about the appropriateness of its use for a particular design task. The presented research attempts to answer how the proposed traceability methodology and framework could help designers to improve communication, eventually create new channels of communication, and contribute to the creation of shared understanding in collaborative design processes. The discussion of these issues is based on a literature review, empirical research, observations of industrial practice, and feedback from initial implementation. The research is focused on information objects (IOs), archetypically represented in the engineering domain as technical documents that are often complex structures constituted of textual, numerical, and graphical fragments. The presented approach is based on an abstraction of IOs' relationships organized around specific contexts that are defined by a subset of product development ontology. Each IO could be repeatedly represented in various contexts that may contain different subsets of objects and their relationships. Such a representation also acts as a container in which the ontology concept instances are associated with IOs being developed and traced during the design episode. The usage of the proposed traceability methodology is discussed with examples of implementation and possible utilization situations. The paper is focused on explaining how the developed functionalities could help to resolve manifestations of inadequate information flow, which cause communication barriers in engineering companies. In addition, the proposed traceability methodology offers the possibility to record the detailed history of actions and events associated with IOs in the usage process of the product life cycle management systems. Based on the research findings, this paper argues that such a network of the traceability links and relationships may be viewed as a novel design communication channel.

In this paper we explore the influence of the physical and social environment (the design space) son the formation of shared understanding in multidisciplinary design teams. We concentrate on the creative design meeting as a microenvironment for studying processes of design communication. Our applied research context entails the design of mixed physical–digital interactive systems supporting design meetings. Informed by theories of embodiment that have recently gained interest in cognitive science, we focus on the role of interactive “traces,” representational artifacts both created and used by participants as scaffolds for creating shared understanding. Our research through design approach resulted in two prototypes that form two concrete proposals of how the environment may scaffold shared understanding in design meetings. In several user studies we observed users working with our systems in natural contexts. Our analysis reveals how an ensemble of ongoing social as well as physical interactions, scaffolded by the interactive environment, grounds the formation of shared understanding in teams. We discuss implications for designing collaborative tools and for design communication theory in general.

In human-centered design, user research drives design decisions by providing an understanding of end users. In practice, different people, teams, or even companies manage each step of the design process, making communication of user research results a critical activity. Based on an empirical study of current methods used by experts, this paper presents strategies for effectively communicating user research findings across organizational or corporate boundaries. To build researcher–client relationships, understand both user and client needs, and overcome institutional inertia, this paper proposes viewing user research clients as users of user research outcomes. This reframing of the crafting of communication across boundaries as a parallel internal human-centered design process we refer to as a double ethnography.

How designers communicate within design teams, and with users, suppliers, and customers, differs in formality both between industries and between different situations within one project. This paper identifies three layers of structure in design communication, each of which can be more or less formal: the design process, the interaction between participants, and the representations of design information that are constructed and used. These layers can be formal across a spectrum from explicit rules to habitual conventions. The paper draws on a range of contrasting case studies in mechanical engineering and knitwear design, as well as a larger corpus of cases comparing design domains more generally, to analyze how formality affects design interaction in different situations and process contexts. Mismatches in the understanding of formality can lead to misunderstandings, in particular across expertise boundaries and between designers and their clients or customers. Formality can be modulated in the mannerism of communication, the rhetoric employed, and how representations are constructed, to make communication more effective. The effort and skill put into modulating formality is greater in domains where designers work with end users, like architecture, than it is in companies where designers interact mainly with other professionals.