design-process
Engineering design cycle covering requirements elicitation, specifications writing, constraint identification, iterative prototyping, and design communication. Spans the full loop from problem definition through ideation, analysis, prototyping, testing, and redesign. Includes morphological charts, TRIZ, Pugh matrices, design reviews, and the distinction between functional and non-functional requirements. Use when framing engineering problems, generating design alternatives, writing specifications, or running design reviews.
git clone --depth 1 https://github.com/Tibsfox/gsd-skill-creator /tmp/design-process && cp -r /tmp/design-process/examples/skills/engineering/design-process ~/.claude/skills/design-processSKILL.md
# Engineering Design Process
Engineering is not invention by accident. It is the disciplined, iterative transformation of a human need into a working solution that satisfies constraints. The engineering design process is the backbone of every engineered artifact, from a bridge to a microprocessor. This skill covers the full design cycle with worked examples, decision tools, and integration with the college engineering concept graph.
**Agent affinity:** brunel (integrated design vision), polya-e (pedagogical scaffolding)
**Concept IDs:** engr-design-cycle, engr-problem-definition, engr-ideation-techniques, engr-design-communication
## The Design Cycle at a Glance
| Phase | Purpose | Key outputs |
|---|---|---|
| 1. Define | Identify the need, stakeholders, and success criteria | Problem statement, stakeholder map |
| 2. Research | Understand existing solutions, physics, regulations | Literature review, prior art, standards list |
| 3. Specify | Translate the need into measurable requirements | Requirements document, constraint matrix |
| 4. Ideate | Generate multiple design alternatives | Sketches, morphological chart, concept variants |
| 5. Analyze | Evaluate alternatives against requirements | Pugh matrix, trade study, feasibility assessment |
| 6. Prototype | Build a testable representation of the chosen design | Physical or digital prototype |
| 7. Test | Measure prototype performance against specifications | Test reports, data analysis |
| 8. Iterate | Refine the design based on test results | Updated design, revised specifications |
| 9. Communicate | Document and present the final design | Engineering drawings, specifications, reports |
The cycle is not linear. Phases 4 through 8 repeat until the design meets all requirements or the project constraints (budget, schedule) force a decision. The critical discipline is knowing when to iterate and when to converge.
## Phase 1 -- Define the Problem
A well-defined problem is half-solved. Engineering problem definition translates a vague need ("we need a better bridge") into a precise engineering problem statement with measurable criteria.
**Template.** Design a [system/component] that [primary function] for [stakeholders] subject to [key constraints], measured by [success criteria].
**Worked example.** *Design a pedestrian bridge that spans a 30-meter river crossing for a rural community subject to a $200K budget and 12-month timeline, measured by load capacity (minimum 500 kg/m), deflection limits (L/360), and 50-year design life.*
**Common mistake.** Jumping to solutions before defining the problem. "We need a suspension bridge" is a solution, not a problem statement. The problem statement must be solution-neutral to preserve the design space.
### Stakeholder Analysis
Every engineering project has stakeholders beyond the end user. A bridge serves pedestrians but must also satisfy regulators, maintenance crews, the funding authority, and adjacent property owners. Missing a stakeholder leads to requirements gaps that surface late, when they are expensive to fix.
Map stakeholders using: **Who uses it? Who pays for it? Who maintains it? Who regulates it? Who is affected by it?**
## Phase 2 -- Research
Before generating new designs, understand what exists. Research covers:
- **Prior art:** What solutions exist for similar problems? What worked and what failed?
- **Physics and materials:** What physical principles govern the problem domain?
- **Standards and codes:** What regulatory requirements constrain the design?
- **Failure history:** What engineering failures in this domain provide lessons?
Research is not optional. Skipping it leads to reinventing known solutions or, worse, repeating known failures. The Hyatt Regency walkway collapse (1981) resulted from a design change that no one analyzed against structural principles -- a failure of research and review, not of engineering knowledge.
## Phase 3 -- Specify Requirements
Requirements are the contract between the problem and the solution. They must be:
- **Measurable:** "Strong enough" is not a requirement. "Withstand 500 kg/m distributed load with deflection less than L/360" is.
- **Testable:** Every requirement must have a corresponding test. If you cannot test it, you cannot verify it.
- **Traceable:** Each requirement links back to a stakeholder need and forward to a design feature.
- **Prioritized:** Must-have (the design fails without it) vs. should-have (the design is degraded without it) vs. nice-to-have (improvement, not essential).
### Functional vs. Non-Functional Requirements
| Type | Definition | Example |
|---|---|---|
| Functional | What the system must do | "The bridge shall support pedestrian traffic in both directions simultaneously" |
| Non-functional | How well the system must do it | "The bridge shall have a design life of 50 years with annual maintenance cost below $5K" |
### Constraint Matrix
Constraints are non-negotiable boundaries. They differ from requirements in that they cannot be traded off -- they are binary pass/fail.
| Constraint type | Example |
|---|---|
| Physical | Maximum span: 30 meters (river width) |
| Regulatory | Must comply with AASHTO pedestrian bridge standards |
| Budget | Total project cost shall not exceed $200K |
| Schedule | Construction complete within 12 months |
| Environmental | No permanent in-water structures (fish habitat protection) |
## Phase 4 -- Ideate
Generate multiple design alternatives before committing to one. The goal is divergent thinking -- quantity of concepts, not quality.
### Brainstorming Rules
1. **No evaluation during ideation.** Criticism kills creativity. Evaluate later.
2. **Build on others' ideas.** "Yes, and..." not "No, but..."
3. **Encourage wild ideas.** They often contain seeds of practical solutions.
4. **Go for quantity.** More concepts increase the probability of finding a good one.
### Morphological Chart
A morphological chart decomposes the design into independent suMajor art movements and their historical context for art education. Covers 12 movements from the Renaissance to contemporary art, their defining characteristics, key artists, signature works, and the intellectual/social forces that produced them. Use when analyzing artworks in historical context, understanding stylistic lineages, identifying influences across periods, or connecting studio practice to art-historical precedent.
Color theory principles for art education. Covers the three color properties (hue, saturation, value), color mixing systems (subtractive and additive), color relationships (complementary, analogous, triadic, split-complementary), color temperature, simultaneous contrast and the relativity of color perception, and practical palette construction. Use when analyzing color in artworks, planning color schemes, understanding optical phenomena in painting, or investigating Albers's Interaction of Color experiments.
The creative process in art from idea to exhibition. Covers five phases of creative work (inspiration, incubation, exploration, execution, reflection), sketchbook practice, artist statements, critique methodology (formal and conceptual), portfolio development, and the studio as a working environment. Use when guiding students through project development, facilitating critique sessions, developing artist statements, curating portfolios, or understanding how professional artists structure their creative practice.
Digital art tools, techniques, and workflows for art education. Covers raster and vector workflows, digital painting, photo manipulation, generative and procedural art, 3D modeling and rendering, pixel art, the relationship between traditional skills and digital execution, and ethical considerations of AI-generated imagery. Use when working with digital tools, evaluating digital art, or bridging traditional art concepts into digital practice.
Observational drawing and visual perception techniques for art education. Covers contour drawing, gesture drawing, negative space, proportion and measurement, value mapping, spatial depth cues, and the cognitive shift from symbolic to perceptual seeing. Use when teaching drawing fundamentals, analyzing observational accuracy, or developing visual literacy in any medium.
Three-dimensional art and sculptural thinking for art education. Covers additive and subtractive sculptural processes, armature construction, modeling in clay, carving principles, casting and moldmaking, assemblage and found-object sculpture, installation art as expanded sculpture, and the conceptual transition from pictorial to spatial thinking. Use when working with three-dimensional media, analyzing sculptural form, understanding spatial composition, or investigating the relationship between sculpture and site.
Celestial coordinate systems and sky positioning. Covers horizon (altitude-azimuth), equatorial (right ascension-declination), ecliptic, and galactic systems; epoch and precession; coordinate transformations; planisphere use; and practical sky-locating from any latitude and date. Use when locating objects, planning observations, converting catalog coordinates, or teaching the geometry of the sky.
Observational cosmology from Hubble's law to the CMB. Covers redshift, Hubble expansion, the cosmological parameters, the cosmic microwave background, large-scale structure, galaxy rotation curves and dark matter, Type Ia SNe and dark energy, and the current state of Lambda-CDM. Use when reasoning about the large-scale universe, interpreting cosmological surveys, or teaching the Big Bang evidence chain.