Abstract

ABSTRACT This paper draws upon the already extensive epistemology of science, both to provide a yardstick of comparison for the emergent epistemology of design, and to establish some starting points from which we might begin to construct the epistemology of design. In approaching the problem of how designers design, the paper employs Heidegger's distinction between ‘know‐how’and ‘knowledge‐that’, popularised by Ryle, and shows it to be central to the distinction between the implicit processes of design employed by craft technologies, and the explicit processes employed by modern scientific technology. Borrowing from recent work by post‐structuralists, it explores the nature of the phases of analysis or ‘deconstruction’, synthesis or construction, and evaluation, by which scientifically informed design is supposed to proceed, paying particular attention to the relationship between deconstructive analysis and constructive synthesis, in order to re‐construct the creative moment/movement by which designers ‘leap’ from problem to solution.