This paper tries to inquire the meta-level analysis of the question of the design. This analysis leads to ask about "what is asked about the design?" or the structure of the question of the design. Designs are variously talked about and have only family resemblance. However, what we ask about will decide the directions of the knowledge about the design. A philosophical question about the design can escape our ordinary everyday-understanding and expand our horizon.

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We claimed that the Design is a constructive process and formalized the process. The Design and the technology to realize it are complementary each other. There is no royal road to the Design, but a loop of generate and test, which we formalized as FNS-diagram. Finally we claimed that design should be a part of a service loop.

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This paper examines design motifs. We focus on the importance of the internal perspective of a designer as a factor that drives the design process; as we consider that a motif drives a design's creativity. Two types of abstraction processes in design (human-driven abstraction and generalization) are addressed by studying creativity in both design and art. We discuss the difference between design, art and their mainstay in time. An ideal design is expressed as the real meaning of 'a real design activity', also as the issue to be studied for identifying a design, elaborating on 'what design is'.

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We characterized the constructive nature of design in terms of a model of design process, the classes of features of the things involved in design, the nature of law, polysemic dualities in design, and scientific inquiry.

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Worth is assessed throughout the Life Cycle. Then we consider a trade-off between Worth, Cost, and Time. This methodology is a concerning selection of design solutions from thousands of combinations of design parameters. The current Design for X (DfX) is considered to be extended, and so the methodology is called Extended DfX. Here, this methodology is applied to consumer product development. Worth of consumer products is especially important, but Worth is not always equivalent to performances, whereas it usually is in the case of other products. Therefore, a novel approach is required for assessing Worth in consumer product development. The design for product sound quality is also introduced as the another approach for the design of worth.

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This paper shows that traditional language games are governed by linguistic principles and thus speakers avoid deviating too much from their linguistic knowledge. We also show that speakers can consciously challenge part of linguistic systems and rules by designing a novel language game. Two of the traditional language games in Japanese, dajare and shiritori, will be described to illustrate the effect of linguistic principles on language games. We will then introduce a hitherto undescribed language game designed as a conceptual art, and see how it is created through the balance and tension between creativity and unexpectedness on the one hand and grammatical well-formedness and meaningfulness on the other. Designing language games-or studying designs of language games-may tell us a lot about the nature of our creativity.

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Revolutions in desktop manufacturing and embedded computing are changing the way we make things. These changes will enable citizens to engineer and manufacture their own goods. The role of the designer is also changing, deciding on the manufacture of specific artifacts, to setting the bounds and rules for decisions that end-users make. Materials are changing tool: Programmable matter made of ensembles of modular robots demands new and dynamic ways of describing designs. A science of design is an essential element for benefiting from these revolutions, and it is likely that a science of design will be expressed computationally.

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The objective of this paper is to capture the essence of design creativity by focusing on design insight and design outsight In this paper, it is shown that design insight and design outsight consist of two viewpoints: criteria and motive. Based on the reviews and discussions on design insight and design outsight, the design process is classified into three categories: artistic design process, creative design process and systematic design process. We define a combination of the artistic design process and systematic design process as the creative design process, and the nature of this process as design creativity. Finally, it is concluded that design creativity involves the integration of design insight and design outsight.

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This article introduces an analysis of deep impressions of artifacts, in order to gain a fundamental understanding about the design. Some researchers have discussed deeper impressions, which do not appear on the surface of impressions explicitly expressed by users. In this study, we advance the discussion on this kind of deeper impression, which we called the "Heart of Impressions." Concretely, we first discuss "where in people's mind can we capture the Heart of Impressions?" Next, we discuss "How can we capture the impressions?" under our hypothesis that "Heart of Impressions exists in the center of the structure, which involves not only the surface impressions but also the latent impressions." Then, we show a method for approaching Heart of Impressions by focusing on structure and the semantic network.

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