Cognitive Design Process Luis De Garrido
  1. Idea gestation stage
    This stage consists of gathering all types of information. But mostly it consists of processing adequately all the accumulated information throughout our lifespan that overlaps in some way with the problem to be solved (stage of activation of linking neuronal network).
  2. Idea generation stage
    This stage consists basically in identifying the basic characteristics of the object that is to be designed, and is made up of two alternative processes, depending on its complexity.

    • a) Problem Solving
      This process is adequate for resolving simple and well-defined design problems. In that case the problem can be divided into subproblem that can be resolved separately, and at the same time each subproblem can be equally divided into other subproblems that can be resolved separately. At the end of the process one can link, more or less in a sequential way, the different partial solutions and with them obtain an adequate solution to the general problem. This process is often carried out in engineering.
    • b) Puzzle Making
      This process is adequate for complex design problems, or ill defined, as is the case of architectural design. In these cases the lack of information makes it absolutely necessary to add more subjective information from the designer to make the problem of the designer solvable. On the other hand the problem is so complex and ambiguous that the way to take it on is to propose from the start of the design process an adequate tentative solution, as to test if it is correct. This tentative solution is what Luis De Garrido calls the “initial fuzzy proto-solution”.
      The ideal initial fuzzy proto-solution is the foundation that allows internal coherence of the object to be designed, such as the fundamental relationship between its basic parts. The ease to propose appropriate initial fuzzy proto-solutions depends on the complexity of the neuronal structure that a designer has been able to reach, based on his genetic inheritance, the development of his brain in the first seven years of their life, and to a lesser extent, the professional experience acquired.
      Often to guarantee excellence in the initial fuzzy proto-solutions, the architect is nurtured by three sources of information.

      • a. Utilización de precedentes
      • b. Utilización de símbolos
      • c. Utilización de metáforas

      In this stage the designer makes parallel decisions on at least 4 levels of abstraction: conceptual, topological, typological and formal.

  3. Development of the idea stage
    This stage is made up of integrating the different components of the object to be designed, considering the guidelines established by the initial fuzzy proto-solution chosen previously and considered correct for time being. Just as in the previous stage, the designer makes parallel decisions on at least 4 levels of abstraction, but starts to prioritize purely formal and geometric decisions, given that this stage has the objective of creating a beautiful design object. This is why, a determined group of composite form relationships among all parts, given that beauty is a question of proportional harmonics, of order, of symmetry… definitively a group of mathematical relationships that regulate the shape of a determined organism, and that, by extension, can be used in the creation of any object.
    These relationships can be purely numerical (for example a mathematical or musical series), or they can be geometric relationships (geometric shapes with a determined proportion among its sides). The geometric relationships have an advantage of being easier to manipulate, and at the same time allow for deeper connection between the designer and the object to be designed. In the same way, these geometric relationships allow one to produce a “fuzzy calligraphic draft” with which the designer can define all the composite elements of the object to be designed.
    Of course, once established from the start a determined geometric or numerical series, it cannot be modified throughout the rest of the design process, with the purpose of assuring the internal coherence and beauty of the object designed.
    In fact, L. B. Alberti, a great architect, stated this long ago: “… The eye measures and compares… a simple relation eases the comparison… the smallest measurement points to the largest because is part of it and points to everything…. to relate is to measure; to measure is a way of owning, of confirming ownership of the object; and ownership gives pleasure…”.
  4. Etapa de depuración de la idea
    Esta etapa consiste en revalidar las decisiones de las dos etapas anteriores hasta el más pequeño detalle, tanto en paralelo, como de forma secuencial.