What Is Design Thinking and Why Is It Important?

Author(s): Rim Razzouk and Valerie Shute

Source: Review of Educational Research, Vol. 82, No. 3 (September 2012), pp. 330-348
Published by: American Educational Research Association
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 Review of Educational Research
September 2012, Vol. 82, No. 3, pp. 330-348
DOl: 10.3102/0034654312457429

© 2012 AERA. http://rer.aera.net

What Is Design Thinking and Why Is It

Important?

Rim Razzouk, Valerie Shute

Florida State University

Design thinking is generally defined as an analytic and creative process that

engages a person in opportunities to experiment, create and prototype mod
els, gather feedback, and redesign. Several characteristics (e.g., visualiza
tion, creativity) that a good design thinker should possess have been identified
from the literature. The primary purpose of this article is to summarize and
synthesize the research on design thinking to (a) better understand its char
acteristics and processes, as well as the differences between novice and
expert design thinkers, and (b) apply the findings from the literature regard
ing the application of design thinking to our educational system. The authors'
overarching goal is to identify the features and characteristics of design
thinking and discuss its importance in promoting students 'problem-solving
skills in the 21st century.

Keywords: design thinking, design process, expertise, expert and novice.

Being successful in today's highly technological and globally competitive

world requires a person to develop and use a different set of skills than were needed
before (Shute & Becker, 2010). One of these skills is called design thinking.
Design has been widely considered to be the central or distinguishing activity of
engineering (Simon, 1996). It has also been said that engineering programs should
graduate engineers who can design effective solutions to meet social needs (Evans,
McNeill, & Beakley, 1990). Like problem solving, design is a natural and ubiqui
tous human activity. Needs and dissatisfaction with the current state combined
with a determination that some action must be taken to solve the problem is the
start of a design process. In this view, many scientists have been designing and
acting as designers throughout their careers, albeit often not being aware of or
recognizing that they are performing in a design process (Braha & Maimon, 1997).
According to Braha and Maimon (1997), engineering lacks sufficient scientific
foundations. Historically, engineering curricula have been based on models that
are devoted to basic science, where students apply scientific principles to techno
logical problems. However, this practice produces engineering graduates who
were perceived by industry and academia as being unable to practice in industry.
This concern caused leaders of engineering departments and colleges to recognize

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 Design Thinking and Its Importance

the intellectual complexities and resources demanded to support good design edu
cation (Todd & Magleby, 2004). This awareness has resulted in the improvement
of existing courses to include industry-sponsored projects where companies pro
vide real problems along with real-world expertise (Bright, 1994; Dutson, Todd,
Magleby, & Sorensen, 1997).
Design thinking has also started to receive increased attention in business set
tings. This is because the design of products and services is a major component of
business competitiveness, to the extent that many known companies have commit
ted themselves to becoming design leaders (Dunne & Martin, 2006). And although
design thinking has become an integral part of the design and engineering fields as
well as business, it can also have a positive influence on 21st century education
across disciplines because it involves creative thinking in generating solutions for
problems. That is, in academic environments, students are required to read criti
cally, think and reason logically, and solve complex problems (Rotherham &
Willingham, 2009). Thus, to help students succeed in this interconnected, digital
world we live in, educators should support students in developing and honing 21st
century skills (e.g., design thinking, systems thinking, and teamwork skills) that
enhance their problem-solving skills and prepare them for college and career
(Rotherham & Willingham, 2009; Shute & Torres, 2012).
These skills are consistent with the theoretical traditions of situated cognition
(Lave & Wenger, 1991), developmental theories (Piaget, 1972), and constructiv
ism (Bruner, 1990). What's new is the growing extent to which individual and
collective success is seen as depending on having such skills. In addition to busi
ness settings, design thinking has received a lot of attention in engineering, archi
tecture, and design majors in universities because it can change how people learn
and solve problems (e.g., Dym, Agogino, Eris, Frey, & Leifer, 2005; Fricke, 1999;
Nagai & Nagouchi, 2003). The topic of expertise in design has also been receiving
increasing attention in design research. In support of these claims, consider the
large number of research articles published on the topic of design thinking (e.g.,
Do & Gross, 2001; Goldschmidt & Weil, 1998; Owen, 2007; Stempfle & Badke
Schaube, 2002; Tang & Gero, 2001). Among these research papers, there are stud
ies of expert or experienced designers and comparisons of the processes of novice
versus expert designers (e.g., Cross & Cross, 1998; Ericsson & Smith, 1991; Ho,
2001). Within this large body of design thinking research, experimental and quasi
experimental studies are lacking. Most, if not all of the studies are qualitative.

Goals and Focus

The dual aims of this article are to (a) summarize findings from the literature of
design thinking to gain better understanding of its characteristics, processes, and
differences between novice and expert design thinkers and (b) apply the findings
from the literature regarding design thinking to our educational system. Our over
arching goal is to identify the features and characteristics of design thinking and
show its importance in promoting students' problem-solving skills needed to succeed
in the 21st century. The major questions addressed in this review include (a) What
are the characteristics of design thinking, (b) what are the differences between a
novice and an expert design thinker, and (c) why is design thinking important?

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TABLE 1
Databases used in searching for articles
Database and Web sites Description

ERIC A database that provides extensive access to education-related

literature from the following two printed journals: Re
sources in Education (R1E) and Current Index to Journals
in Education {CIJE).
JSTOR A database of back issues of core journals in the humanities,
social sciences, and sciences. The gap between the most
recently published issue of any journal and the date of the
most recent issue available in JSTOR is from 2 to 5 years.
ScienceDirect One of the largest online collections of published scientific
research. It is operated by the publisher Elsevier and
contains nearly 10 million articles from over 2,500 journals
and over 6,000 e-books, reference works, book series, and
handbooks.
IEEE Xplore A database that indexes, abstracts, and provides full-text
for articles and papers on computer science, electrical
engineering, and electronics. The database mainly covers
material from the Institute of Electrical and Electronics
Engineers (IEEE) and the Institution of Engineering and
Technology (IET). The IEEE Xplore database contains over
2 million records.
Google Scholar Google Scholar was employed to search for and acquire
specific references. Google Scholar is a Web site providing
peer-reviewed papers, theses, books, abstracts, and articles
from academic publishers, professional societies, preprint
repositories, universities, and other scholarly organizations.

Method

Many articles in the design thinking literature were identified and then col
lected. Table 1 lists and describes the online databases and Web sites that were
employed in this search-collection effort. The focus of the search was to access
full-text documents using various search terms or keywords such as design think
ing, design cognition, design behavior, design studying, design reasoning, design
process, thinking of design, visual thinking, and prototyping. The search was not
limited to a particular date range or experimental studies. However, slight prefer
ence was given to more recent research. In all, approximately 150 documents were
collected. From this set, a total of more than 45 documents met the criteria for
inclusion in the literature review. The inclusion criteria consisted of topical rele
vancy of documents to the research questions in this article (e.g., design thinking
characteristics and processes, novice vs. expert design thinker, and the importance
of design thinking). Both experimental and nonexperimental studies were included
in this article.

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 Design Thinking and Its Importance

Literature Review

Many authors have written about the nature of and different processes underly
ing the design thinking process (e.g., Liu, 1996; Owen, 2007; Stempfle & Badke
Schaube, 2002). We now present our review of the literature of this area, starting
with a description of the nature of design thinking, its characteristics, and pro
cesses. Next, we present literature regarding expertise, expert versus novice desig
thinkers, and expertise in design. We then present our design thinking model
adapted from Shute and Torres (2012). Finally, we discuss the findings from the
literature, showing the importance of design thinking and providing suggestion
for future research.

Nature of Design Thinking

In many fields, knowledge is generated and accumulated through action (i.e.,
doing something and evaluating the results). That is, knowledge is used to produc
work, and work is evaluated to produce knowledge. Creative people tend to work i
two different ways: either as finders or as makers (Owen, 2007). Finders demonstrate
their creativity through discovery. They are driven to understand and to find explana
tions for phenomena not well understood. Makers are equally creative, but they are
driven to synthesize what they know in new constructions, arrangements, patterns,
compositions, and concepts. Given the fundamental process differences between
how finders and makers think and work, other factors might similarly reveal diffe
ences among professional fields and therefore help to define the nature of design
thinking. One such factor is the content with which a field works.
A conceptual map can be drawn to represent both content and process factors
(Figure 1). Two axes define the map. Separating the map into left and right halve
is an analytic/synthetic axis that classifies fields by process (i.e., the way they
work). Fields on the left side of the axis are more concerned with finding or dis
covering; fields on the right are concerned with making and inventing. A symbolic/
real axis divides the map into halves vertically. Fields in the upper half of the ma
are more concerned with the abstract, symbolic world, as well as the institutions
policies, and language tools that enable people to manipulate information, com
municate, and live together. Fields in the lower half are concerned with the real
world and the artifacts and systems necessary for managing the physical environ
ment (Owen, 2007).
Four quadrants result from this division. The first is analytic/symbolic, which
includes fields like science that are heavily analytic in their use of process and their
content is more symbolic than real in that subject matter is usually abstracted in its
analyses. The second quadrant is synthetic/symbolic, which includes fields that ar
concerned extensively with the symbolic content and synthetic processes. For
instance, law falls in this quadrant because it is concerned with the symbolic con
tent of policies and social relationships, and most of its disciplines are concerned
with the creation of laws. The third quadrant is analytic/real, which on the content
scale involves reality and on the process scale is strongly analytic. Medicine, for
example, falls into this quadrant because it is highly concerned with real problem
of human health and diagnostic processes are its primary focus. The fourth is syn
thetic/real, which involves fields, such as design, that include synthesis processes
and real content (Owen, 2007).

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 Content:
Symbolic
> Symbolic VS.
Real
Analytic Synthetic
Process: Symbolic Symbolic
> Analytic VS.
Synthetic

Analytic
/ s Synthetic

( v
Design

Analytic Synthetic
Real Real
Real

FIGURE 1. Conceptual representation of content and process factors.

Note. Adapted from "Design Thinking: Notes on Its Nature and Use," by C. Owen, 2007. Design Research
Quarterly, 2(1), 16-27.

In this mapping (represented by a circle), design falls in the fourth quadrant

because it is highly synthetic and strongly concerned with real-world subject mat
ter. However, because disciplines of design deal with communications and sym
bolism, design has a symbolic component, and because design requires analysis to
perform synthesis, there is also an analytic component (Owen, 2007).
It is important to note that a case can be made for the positioning of any field to
the left or the right of the map. However, mapping fields is relative and not abso
lute, which is important because this mapping provides a means for comparing the
relationships among different fields with respect to the two dimensions: content
and process. Each of the four quadrants in this figure is important in education
because we want our students to develop higher-order thinking skills and be able
to analyze, synthesize, innovate, and thus readily deal with real-world problems.
According to Hatchuel and Weil (2009), design can be modeled as a relation
ship between two interdependent spaces with different structures and logic: the
space of concepts (C) and the space of knowledge (K). Space K contains all estab
lished knowledge available for designers, while Space C includes concepts that are
neither true nor false in K about an object. Design proceeds in a step-by-step par
titioning of C-sets until a partitioned C-set becomes a K-set, that is, a set of objects,
well defined by a true proposition in K. Thus, for Hatchuel and Weil, design is a
reasoning activity that starts with a concept about a partially unknown object and
attempts to expand it into other concepts and/or new knowledge.
At its core, design thinking refers to how designers see and how they conse
quently think (Liu, 1996). It is an iterative and interactive process where designers
(a) see what is there in some representation of problem-sol ving concepts/ideas, (b)
draw relations between ideas to solve the problem, and (c) view what has been

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 Design Thinking and Its Importance

drawn as informing further design efforts (Do & Gross, 2001; Lloyd & Scott,
1995). Designing often begins with a diagrammatic depiction that is gradually
transformed to more complex graphic representations by adding detail. These
design diagrams facilitate the designer's reflection, dialogue, and self-critique and
therefore serve the purpose of representing and testing the designer intent. In other
words, diagrams serve as a primary vehicle for thinking and solving problems (Do
& Gross, 2001; Nagai & Noguchi, 2003).
Braha and Reich (2003) viewed the design process as a generic process where
designers modify either the tentative or current design or the requirements and
specifications, based on new information that has become available. This ongoing
process of modification is performed in order to remove discrepancies and estab
lish a fit between the problem space, expressed through requirements and specifi
cations, and the proposed design solution.
In 2000, Suwa, Gero, and Purcell argued that designing is a situated act, which
means that designers invent design issues or requirements in a way that is situated
in the environment in which they design. The authors found a strong bidirectional
correlation between unexpected discoveries and the invention of issues and require
ments. Unexpected discoveries are those instances when a designer perceives
something new in a previously drawn element of a solution concept. Not only do
unexpected discoveries become the driving force for the invention of issues or
requirements, but also the occurrence of invention tends to cause new unexpected
discoveries. These results emphasize the importance of rapid alternation between
different modes of activity during the design process (e.g., drawing sketches and
conceiving of design issues or requirements that are dynamically related to one
another). This also explains the opportunistic nature of design activity, as the
designer pursues issues and requirements in an evolving solution concept.
According to Dorner (1999), several forms of thinking can be observed in
designing. Design starts as a cloudy idea about how the design/product should look
like and how it should work. With time, this idea crystallizes and transforms into
a clear and complete image of the product. The cloudy idea comes from something
that the designer already knows about the product. This knowledge can be a source
of analogies. The second form of thinking involves the sketches and models that
bring the cloudy idea to a more concrete form. Sketches and models clarify the
characteristics of the product, helping to form a specific line of thought that facil
itates the development process and forms the basis for the design thinking process.
The third form of design thinking is the "picture-word cycle," which involves
putting ideas into words that helps the designer clarify and elaborate on ideas.
However, whatever the form of thinking, the design thinker should demonstrate
specific characteristics in addition to creativity.

Characteristics of a Design Thinker

Table 2 summarizes some of the design thinker characteristics that Owen (2007)
described. Although the nature of design thinking and what makes one person a
design thinker and another not remain elusive, a number of characteristics have
been identified and can be useful in understanding how a design thinker thinks and
approaches issues. These characteristics are also helpful in understanding the
nature of design thinking. In addition to these characteristics that a design thinker
should possess, there are several processes underlying the design thinking process.

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TABLE 2
Design-thinker characteristics

Characteristics Description
Human- and environment-centered Designers must continually consider how
concern what is being created will respond to hum
needs. They should also consider envi
ronmental interests at a level with human
interests as primary constraints for the design
process.
Ability to visualize Designers work visually (i.e., depiction of
ideas).
Predisposition toward Designers should look at different/multiple
multifunctionality solutions to a problem and keep the big pic
ture of the problem in mind while focusing
on its specifics.
Systemic vision Designers should treat problems as system
problems with opportunities for systemic
solutions involving different procedures and
concepts to create a holistic solution.
Ability to use language as a Designers
tool should be able to verbally explain
their creative process forcing invention
where detail is lacking and expressing rela
tionships not obvious visually (i.e., explana
tion should go hand in hand with the creative
process).
Affinity for teamwork Designers need to develop interpersonal skills
that allow them to communicate across disci
plines and work with other people.
Avoiding the necessity of choice
Designers search competing alternatives before
moving to choice making or decision mak
ing. They try to find ways to come up with
new configurations. This process leads to a
solution that avoids decision and combines
best possible choices.

Processes in Design Thinking

According to Braha and Reich (2003), the design process is characterized by
being iterative, exploratory, and sometimes a chaotic process. It starts from some
abstract specifications, or what Hatchuel and Weil (2009, p. 182) call a "brief," and
terminates with the description of a product while gradually refining the product
specifications. Intermediate states of the design process might include conflicting
specifications and product descriptions. Specifications may change in reaction to
proposals or to unexpected problems discovered during the process. In this case,
design follows cycles of mutual adjustment between specifications and solutions
until a final solution is reached (Hatchuel & Weil, 2009).
During the design process, designers engage in several different cognitive pro
cesses. Kolodner and Wills (1996) specified three processes required in design

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 Design Thinking and Its Importance

thinking: (a) preparation, (b) assimilation, and (c) strategic control. In the prepara
tion process, designers need to learn what to focus on and what is relevant. During
this phase, the specifications and constraints of the problem, reinterpretation of
ideas, visualization, problem reformulation (including situation assessment and
elaboration), and others evolve. The assimilation process involves making sense
of the proposed solution, data, and observations coming from the design environ
ment, such as feedback from experiments with prototypes. In the strategic control
process, designers must make many decisions over the course of a design (e.g.,
which idea to elaborate or adapt next, which constraints to relax, how to set pri
orities). They also move among various tasks, subproblems, and design processes
in a flexible and highly opportunistic manner.
In 2002, Stempfle and Badke-Schaube examined a theory of what design teams
actually do while designing. They looked at theories of creativity and problem
solving and cognitive theories of human decision making. The basic elements of
design thinking that the authors proposed as cognitive operations to deal with any
kind of problem were generation, exploration, comparison, and selection. The first
two elements (generation and exploration) widen a problem space whereas the last
two (comparison and selection) narrow a problem space. When widening a prob
lem, solutions are generated and then examined in relation to the goal. Then, in an
iterative process, solutions may be modified or new solutions may be developed
until an optimal solution is found. Narrowing a problem entails comparing two or
more ideas and then selecting the solutions based on specific and relevant goal
criteria. These elements represent a model that can be applied to understand
designers' thinking while working in a team. Designers working in groups have to
communicate what they are thinking, thus showing their basic thinking processes.
The researchers applied this model to three mechanical engineering teams con
sisting of four to six students. The teams were assigned to design a mechanical
concept for an optical device to project images of celestial objects. The teams
interacted with a simulated customer at three fixed points in time during their one
day working period. Team communication was recorded. Results from protocol
analysis revealed that the teams spent only 10% of their time on clarifying the goal
and spent the remaining 90% of the time planning a solution.
The Stempfle and Badke-Schaube (2002) findings described differ from those
observed by McNeill, Gero, and Warren (1998) in electronics engineers. McNeill
and colleagues reported that across the whole design episode, the designers spent
most of their time analyzing the problem; synthesizing the solution took the second
greatest amount of time, and the remaining time was spent on the evaluation of the
solution. The authors concluded that a designer begins a conceptual design session
by analyzing the functional aspects of the problem. As the session progresses, the
designer focuses on the three aspects—function, behavior, and structure—and then
engages in a cycle of analysis, synthesis, and evaluation. Toward the end of the
design session, the designer's activity is focused on synthesizing structure and
evaluating the structure's behavior. Similarly, in a team of three industrial design
ers, Goldschmidt and Weil (1998) found that the process of design thinking is
nonlinear and that designers follow a forward (breaking down) and backward
(validating) reasoning strategy. Although research is not consistent about how time
is spent during the design thinking process, findings indicate that there is a learning

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Razzouk & Shute

progression during the design thinking process that eventually transforms a novice
into an expert design thinker.

Expertise
Expertise is the result of a dedicated application to a specific field of interest
(Cross, 2004). According to Ericsson, Krampe, and Tesch-Romer (1993), deliber
ate practice guided toward improvement of performance is necessary to reach high
levels of performance and the acquisition of expertise. Ericsson et al. added that
the achieved level of performance of an expert is closely related to the accumulated
amount of practice. Therefore, the development of expertise passes through differ
ent phases. Something happens in the development from being a novice to becom
ing an expert.
The major difference between experts and novices is that experts have accumu
lated a large number of examples of problems and solutions in a specific domain
of interest. A key competency of an expert is the ability to mentally stand back
from the specifics of the accumulated examples and form more abstract conceptu
alizations related to their domain of expertise (Akin & Akin, 1996; Ho, 2001).
Experts are believed to be able to store and access information in larger cognitive
chunks than novices can and to recognize underlying principles rather than focus
ing on the surface features of problems (Dorner, 1999; Nigel, 2004; Purcell &
Gero, 1996; Suwa et al., 2000). Therefore, the accumulation of experience is crit
ical in the transformation from a novice to an expert.
In many areas, like sports and music, the benefits of dedicated practice are well
known and there are established programs of training for novices to help them gain
experience and expertise over time (Cross, 2004). It may be beneficial in other
areas as well to focus on the transformational phases (i.e., novice through expert),
such as in design thinking. In design education, there are well-established practices
that are presumed to help the development from novice to expert, but there is still
little understanding of the differences between novice and expert performance in
design.

Novice Versus Expert Design Thinker

In general, a good designer should be able to flexibly use different problem
solving strategies and choose the one that best meets the requirements of the situation
(Akin & Akin, 1996; Eisentraut, 1999; Weth, 1999). Regardless of the given prob
lem, successful designers clarify requirements, actively search for information (i.e.,
critically check given requirements and question their own requirements), summa
rize information of the problem into requirements and partially prioritize them, and
do not suppress first solution ideas (Badke-Schaub, 1999; Fricke, 1999).
According to Nigel (2004), novice behavior is usually associated with a depth
first approach to problem solving, that is, identifying and exploring sub-solutions
in depth and sequentially. The strategies of experts are usually regarded as being
predominantly top-down, breadth-first approaches. The expert designer uses
explicit problem decomposing strategies, which the novice designer does not pos
sess. In 2001, Ho examined the search strategies used by expert and novice design
ers in solving problems in industrial design. Using protocol analysis, the researcher
found that the novice participant focused only on the surface level without decom
posing the problem, while the expert used explicit problem decomposing
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 Design Thinking and Its Importance

strategies. However, both expert and novice used similar bottom-up (working
backward) problem-solving strategies.
Christiaans and Dorst (1992) conducted protocol studies of junior and senior
college students in an industrial design course. They found that some students,
mostly the juniors, got trapped gathering information rather than progressing to
solution generation, but most of the senior students did not face this difficulty. That
is, senior design students did not gather as much information, but they were able
to solve the given problem. They asked for less information, processed it directly,
and built up an image of the problem. They also prioritized activities early in the
process.
A similar finding was reported by Gunther and Ehrlenspiel (1999), who con
ducted a set of experiments with a total of 20 novice and expert designers of
mechanical devices. The researchers found that experts were able to clarify a task
in a shorter time, whereas novices had to invest much more time in clarification.
These findings (i.e., Christiaans & Dorst, 1992; Gunther & Ehrlenspiel, 1999) cor
roborate findings from Atman, Chimka, Bursic, and Nachtman (1999), who con
ducted protocol analysis studies of engineering students. They found that novices
(i.e., freshmen with no design experience) spent a large portion of their time defin
ing the problem and did not produce high-quality designs. Therefore, and similar
to the industrial design students in the Christiaans and Dorst (1992) study, some of
the freshmen engineering students in the Atman et al. study were stuck at the level
of defining the problem, which hindered their progress in the design process.
However, senior students defined the problem adequately, which in turn resulted
in good designs.
Ahmed, Wallace, and Blessing (2003) studied differences between the behav
iors of novice and experienced designers in engineering. The authors found clear
differences between the behavior of new graduate entrants (i.e., novices) to
the engineering design profession and experienced designers. The novices used
trial-and-error techniques of generating and implementing a design modification,
evaluating it, and then generating another evaluation through several iterations.
Experienced engineers, however, made a preliminary evaluation of their tentative
design decisions before implementing them and making a final evaluation. In con
trast to the novices' trial-and-error approach, the experienced designers employed
integrated design strategies.
In 2001, Seitamaa-Hakkarainen and Hakkarainen investigated the relationships
between visual and technical designing using qualitative analysis. That is, they
examined differences between two novices and two experts in the field of weaving
design. Protocol analysis results revealed that the experts integrated the visual ele
ments (e.g., color, size, patterns) and technical elements (e.g., material) of weav
ing, and generally considered them in a parallel way during the design process.
Iteration between the visual and the technical space was a significant aspect of the
experts' design process. The experts continuously moved from one design space
to another to carry out very detailed processes of search for design solutions. In
contrast, the novices organized their process around the composition space and
rarely moved to the construction space to explore how visual ideas could be real
ized in weaving.
Similarly, using data from protocol studies, Kavakli and Gero (2002) compared
the cognitive performances/actions (i.e., looking, perceptual and functional
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Razzouk & Shute

actions, and goals) of a novice and an expert architect. Using protocol analysis, the
researchers investigated concurrent cognitive actions of designers and found sig
nificant differences in output between novice and expert designers. The protocol
was divided into segments. A cognitive segment consisted of cognitive actions that
appeared to occur simultaneously. They found that the design protocol of the
expert included 2,916 actions (i.e., chunks) and 348 segments, whereas the nov
ice's protocol included 1,027 actions and 122 segments. Each segment consisted
of 8 cognitive actions on average. Considering that the same amount of time was
given to both participants, the expert's design protocol was 2.8 times as rich as the
novice's in terms of actions. There were also 2.8 times as many segments in the
expert designer's session as in the novice's. Therefore, the expert had more overall
fluency in relation to divergent thinking skills. The expert's cognitive actions con
tinuously rose throughout the activity, while the novice's cognitive activity started
at a peak and then declined. The authors also found that the expert seemed to have
more control of his cognitive activity compared to the novice. Because the expert's
cognitive actions are well organized, he was able to govern his performance more
efficiently than the novice.
These findings align with those by Tang and Gero (2001), who found substan
tial differences between a novice and an expert architect. Using a retrospective
protocol analysis, the authors found differences between the novice and expert
designers in relation to four design levels: (a) the physical level, which refers to
the instances that have direct relevance to the external world, comprising drawing
and looking actions; (b) the perceptual level, which concerns the instances of
attending to visual-spatial features/relationships in an automatic perceptual mech
anism; (c) the functional level, which relates to the instances of functional refer
ences mapped between visual-spatial features/relationships and abstract concepts,
including meanings and functions; and (d) the conceptual level, which represents
the instances that process abstract concepts and the instances that process physical
and perceptual actions. The expert seemed to create more meaning at the physical
and perceptual levels than the novice.
Differences between novices and experts performing design-related problems
were also studied by Goker (1997). The author examined novices and experts on
a task involving computer-simulated construction of machines. Goker found that
the experts, skilled in the use of computer simulations, did not reason toward a
design concept in an abstract way, but relied more on their experience and visual
information. In contrast, novices depended more on abstract reasoning.

Experts During the Design Process

Expert designers solve complex problems more easily than novices (Cross,
2004). During a conceptual design process, experienced designers do not just syn
thesize solutions that satisfy given requirements, they also invent design issues or
requirements that capture important aspects of a given problem that assist in solv
ing the problem at hand (Liu, 1996). From protocol studies of experienced engi
neering designers, Lloyd and Scott (1994) found that the manner by which experts
approach a problem is related to the degree and type of previous experience. More
experienced designers tend to use generative reasoning (i.e., an inductive approach)
compared to less experienced designers who employ more deductive reasoning
(depth-first approach). In other words, designers with specific experiences related

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 Design Thinking and Its Importance

to the problem type approached the design task through solution assumptions/
conjectures instead of problem analysis. This hypothesis suggests that experience
in a specific problem type enables designers to perceive the design problem in
terms of relevant solutions that they have previously encountered.
Designers also tend to change goals and constraints as they design. They are
flexible in selecting and trying different solutions. However, when designers face
unexpected difficulties and/or shortcomings in the solution concept, they tend to
stick to their principal solution concept as long as possible through the design
process. For instance, from case studies of professional architectural designers,
Rowe (1987) observed that the designers' choices for problem-solving directions
were influenced by their initial design ideas. Furthermore, the designers made
every effort to make these ideas work whenever a problem was encountered, rather
than adopting a new idea.
And although this fixedness proclivity may sound maladaptive, Ullman,
Dietterich, and Stauffer (1988) observed the same phenomenon in their protocol
studies of experienced mechanical engineering designers. Ullman and colleagues
found that experienced designers typically pursued only one design proposal. And
even when major problems had been identified, the designers preferred to modify
the initial proposal rather than rejecting it and developing a new one. Likewise,
Ball, Evans, and Dennis (1994) drew a similar conclusion from their studies of
senior electronic engineers conducting real-world projects. The researchers stated
that when the designers generated a less than satisfactory solution, they refused to
discard the original solution or spend time and effort coming up with an alternative
one. Rather, they tended to improve the solution by developing different versions
until a workable solution was achieved. Again, the designers indicated a fixation
behavior on initial concepts (Ball et al., 1994). Nonetheless, adherence to initial
concepts seems to comprise normal expert design behavior. Finally, in a study of
experienced software designers, Guindon (1990) also found that designers came
to a solution very early in the session and quickly rejected alternative solutions.
Since a problem cannot be fully understood in isolation, expert designers use
conjectures as a means of helping them to explore and understand the formulation
of the problem. From protocol studies of experienced industrial designers, Dorst
and Cross (2001) asserted that the designers start by exploring the problem and
find, discover, or recognize a partial structure. Afterwards, they use this partial
structure to generate initial ideas for the form of a design concept, then expand and
develop the partial structure. Thus, their goal is to create a matching solution to the
problem. Having more than one solution concept should stimulate a more compre
hensive evaluation and understanding of the problem (Cross, 2004). From the
analysis and synthesis of the literature, it appears that there are a number of com
petencies that designers should acquire and hone. The more experience a designer
builds in these competencies, the more he or she advances along the novice-expert
continuum.

Design Thinking Competency Model

As a result of this review of the literature, we have created a design thinking
competency model (Figure 2), adapted from Shute and Torres (2012). This model
displays a hierarchically arrayed set of variables (or nodes), from general to more
specific when viewing from left to right. This competency model represents an

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FIGURE 2. The design thinking competency model.
Note. Adapted from "Where Streams Converge: Using Evidence-Centered Design to Assess Quest to Learn." In
M. Mayrath, J. Clarke-Midura, & D.H. Robinson (Eds.), Technology-Based Assessments for 21st Century
Skills: Theoretical and Practical Implications from Modern Research (pp. 91-124). Charlotte, NC: Information
Age Publishing.

operationalization of the design thinking construct and may also help drive the crea
tion of appropriate activities that would allow for the collection of relevant evidence
to inform variables in the model. For example, consider the variable "Iterate
Diagrams" in Figure 2. Skills associated with this variable include tinkering, creat
ing, and testing ideas via diagrams. Testing, in turn, entails initial testing of the
design idea, getting feedback, modifying the design, reevaluating it, and making a
decision to accept or reject the modeled idea. To assess students' competency levels
relative to the iterate diagrams variable, we would have to put them in a situation in
which those constituent skills could be employed, such as in a game or simulation.
Diagnostically, the model could provide the framework for evaluating the degree to
which students are demonstrating particular design thinking skills at various times
and at various grain sizes relative to the model (for more, see Shute & Torres, 2012).

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 Design Thinking and Its Importance

The design thinking competency model is useful for assessment and diagnostic
purposes. That is, once the key knowledge and skills have been identified, then
tasks and activities can be developed in line with the model's variables. Another
relevant question concerns whether these skills are learnable. With sufficient prac
tice within meaningful environments, along with scaffolded support and formative
feedback, we believe that students can learn design thinking skills. Moreover,
pedagogical approaches that involve problem-based learning, project-based learn
ing, and inquiry-based learning can be used to enhance students' design thinking
skills within the context of evocative and consequential classroom activities (Dym
et al., 2005).
Such learner-centered approaches can help to raise students' awareness about
good design processes and generally enhance their interest in solving complex
problems. Associated activities could be designed in a way that requires students
to generate ideas/solutions, receive support for their emergent design thinking
skills, as well as ongoing feedback about the feasibility of various solutions.
Educators can support their students in developing these skills by providing them
with multiple and varied opportunities to design and create prototypes, experiment
with different ideas, collaborate with others, reflect on their learning, and repeat
the cycle while revising and improving each time.
In summary, the premise is that by improving students' design thinking skills
through having them apply processes and methods that designers use to ideate and
help them experience how designers approach problems to try to solve them, stu
dents will be more ready to face problems, think outside of the box, and come up
with innovative solutions. We believe that design thinking is more than just a skill
to be acquired and used in limited contexts. Rather, we view it as a way of thinking
and being that can potentially enhance the epistemological and ontological nature
of schooling.

Summary and Discussion

In this article, we reviewed the literature related to design thinking. Expert
designers are solution focused rather than problem focused. This appears to be a
feature of design thinking that comes with education and experience in designing
(Cross, 2004). Specifically, building experience in a particular domain allows
designers to quickly identify the problem and propose a solution. Generating, syn
thesizing, and evaluating a solution are frequently identified as key features of
design expertise. Some research studies (e.g., Dorst & Cross, 2001; Guindon,
1990) have found that creative and productive design behavior seems to be associ
ated with frequent switching of types of cognitive activity (e.g., analysis, synthe
sis). Designers should be able to assess the conditions of a given situation and
quickly adjust their actions depending on the current set of needs (Stempfle &
Badke-Schaube, 2002).
Helping students to think like designers may better prepare them to deal with
difficult situations and to solve complex problems in school, in their careers, and
in life in general. Current educational practices, though, typically adhere to out
dated theories of learning and pedagogy, evidenced by a so-called content fetish
(Gee, 2005). That is, schools continue to focus on increasing students'proficiency
in traditional subjects such as math and reading, via didactic approaches, which
leaves many students disengaged. We can and should move beyond that limited

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Razzouk & Shute

focus and consider new educationally valuable skills (e.g., design thinking, multi
tasking, digital literacy) to value, assess, and support.
As described earlier, enhancing students' design thinking skills may be achieved
through incorporating authentic and intriguing tasks into the classroom and pro
viding many opportunities to apply design processes. In our design thinking model
shown in Figure 2, imagine tasks that are designed and developed for each of the
low-level nodes. As students work on the tasks, evidence is accumulated to evalu
ate their performance. Such information can help educators monitor the student's
performance, infer current states of strength and weakness relative to design think
ing variables, and provide targeted feedback to improve the student's performance.
Our goal as educators should not focus on preparing our students to perform well
on standardized exams, but to equip them with powerful skill sets that can help
them succeed both within and outside of school.
This article presented relevant research that has provided the basis for under
standing (a) the nature of design thinking, (b) experts' behavior in design, and (c)
differences between novice and expert designers. Most of these studies were qual
itative and employed protocol analysis, which has some limitations as a research
method, especially for investigating design activities. For example, it can be a
weak method when researchers aim to capture designers' nonverbal thought pro
cesses, which are critical in design thinking. The majority of the studies we
reviewed aimed to examine either the differences between novice and expert
designers or characterize expert behavior in the designing process. However,
experimental evidence is lacking in the field of design research.
Researchers who are interested in measuring and supporting design thinking
have great opportunities to conduct a wide range of experimental studies that can
lead to important findings. For instance, researchers may examine the effects of
the design thinking process on various learning outcomes. They can also investi
gate the effects of different tasks and their complexity relative to enhancing design
thinking skills, which in turn are assumed to increase students' learning outcomes.
It would also be interesting to know if design thinking skills mediate the learning
process. In other words, design thinking skill may serve as a mediator that clarifies
the nature of the relationship between an independent variable (e.g., problem
solving skill) and a dependent variable (e.g., math test scores). So, rather than
hypothesizing a direct causal relationship between problem-solving skill and math
test scores, we may hypothesize that problem-solving skill enhances design think
ing skill, which in turn leads to an increase in math scores. Another important study
could examine the domain-specific versus domain-independent nature of design
thinking. In other words, can design thinking skill be examined independently of
particular domains (e.g., engineering vs. marketing), or is it context bound?
Currently, we have found no valid performance-based assessments of design
thinking skills. This lack adversely affects the ability to collect good evidence
about the effects of these skills on learning (Rotherham & Willingham, 2009). A
major challenge, then, is to design and develop accurate, performance-based mea
sures of these skills. Assessing these types of 21 st-century competencies is beyond
the capabilities of most traditional assessment formats (e.g., multiple-choice test,
self-report survey). Therefore, innovative assessments that aim to reliably measure
those skills should be designed and developed to assist researchers in collecting
valid and reliable evidence. We suggest employing the evidence centered design

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 Design Thinking and Its Importance

(ECD) framework (Mislevy, Steinberg, & Almond, 2003) for designing valid per
formance-based assessments for 21 st-century skills. ECD is a systematic approach
to the design of assessments that focuses on the evidence (i.e., student performance
and products) of proficiencies as the basis for constructing assessment tasks and
making inferences about competency levels (for more, see Mislevy et al., 2003).
ECD is especially suited for assessments that involve complex problems and
dynamic, interactive environments—which are exactly the kinds of contexts
required for design problems.
There is considerable empirical work to be done to establish a full understand
ing of design thinking. The studies surveyed in this article show the characteristics
of novice and expert designers. Having good design thinking skills can assist in
solving really complex problems as well as adjusting to unexpected changes.
Although the design process involves in-depth cognitive processes—which may
help our students build their critical thinking skills (e.g., reasoning and analysis)—
it also involves personality and dispositional traits such as persistence and creativ
ity. If we are serious about preparing students to succeed in the world, we should
not require that they memorize facts and repeat them on demand; rather, we should
provide them with opportunities to interact with content, think critically about it,
and use it to create new information. Preparation for future work situations requires
teaching learners to use their minds well. To turn the tide in education that is leav
ing students "ill-prepared to tackle real-world, complex problems [we must change
our course]... we cannot directly adjust the wind (the future), but we can adjust

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Authors

RIM RAZZOUK completed her PhD in instructional systems at the Florida State University
(FSU), Tallahassee, Florida. She also pursued her master's in instructional systems and
obtained a certificate in human performance technology from FSU. Her research interests
focus on the application and evaluation of different learner-centered methods and strate
gies, integration of mobile technology in education, and development of team-shared
mental models. Currently, Rim is working as the director of measurement and assessment
at Edvation in Seattle, WA; e-mail: [email protected].
VALERIE SHUTE is a professor at Florida State University. Before coming to FSU in 2007,
she was a principal research scientist at Educational Testing Service (2001-2007) where
she was involved with basic and applied research projects related to assessment, cogni
tive diagnosis, and learning from advanced instructional systems. Her general research
interests hover around the design, development, and evaluation of advanced systems to
support learning, particularly related to twenty-first-century competencies. Her current
research involves using immersive games with stealth assessment to support learning of
cognitive and noncognitive knowledge and skills.

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