Making explicit in design education: generic elements in the design process

In general, designing is conceived as a complex, personal, creative and open-ended skill. Performing a well-developed skill is mainly an implicit activity. In teaching, however, it is essential to make explicit. Learning a complex skill like designing is a matter of doing and becoming aware how to do it. For teachers and students therefore, it will be helpful to make the design process explicit. In this paper, a conceptual framework is developed to be more explicit about the design process. Based on research of the design process, on differences between novices and expert designers, and on personal experience in design education practice, five generic elements in the design process are distinguished: (1) experimenting or exploring and deciding, (2) guiding theme or qualities, (3) domains, (4) frame of reference or library, (5) laboratory or (visual) language. These elements are generic in the sense that they are main aspects and always present in the complex, personal, creative and open-ended design process.     

Motivation for creativity in architectural design and engineering design students: implications for design education

The investigation reported here dealt with the study of motivation for creativity. The goals were to assess motivation for creativity in architectural design and engineering design students based on the Cognitive Orientation theory which defines motivation as a function of a set of belief types, themes, and groupings identified as relevant for the development of creativity. Differences between the two groups of students were expected in some of the scores of the belief types, themes, and groupings. Participants were 112 students (52 from architecture, and 60 from engineering) who were administered the questionnaire of the Cognitive Orientation of Creativity. Significant differences in numerous motivational contents were observed between the groups of students. Major characteristics of the architectural design students were an emphasis on the inner world, inner-directedness, and a development of the self, and of the engineering design students being receptive to the environment, and demanding from oneself despite potential difficulties. The findings provide insights for intervention programs targeted at improving architectural and engineering design education.     

Open design: an actual topic in architectural education

International Journal of Technology and Design Education - Architecture is never fixed: buildings and (urban) spaces change as their use(r)s and contexts change over time. Even when architectural...     

Interdisciplinarity in design education: understanding the undergraduate student experience

Interdisciplinarity is becoming a critical issue of concern for design schools across East Asia in their attempts to provide industry graduates with the skills and competences to make creative contributions in a global economy. As a result, East Asian higher education institutions are aggressively endeavouring to provide interdisciplinary undergraduate curriculum that combine traditional designerly skills with engineering knowledge and methods. The current study takes an interdisciplinary undergraduate course as case-study to examine how the pedagogic strategy of team teaching influences student learning experience. Two surveys of student learning were conducted for this research purpose. The first provided an indication of the holistic student learning experience, while the second explored the conditions of team and non-team teaching as influence upon learning experiences specifically. Results showed how students taught by a single instructor provided a more positive overall opinion of course quality and experienced significantly more encouragement to participate compared to team taught respondents. However, findings also indicated how team teaching significantly increased the students’ experience of a balanced contribution from different disciplinary perspectives and how the team teaching approach was significantly more effective in providing students with greater opportunities to understand the relevance of the different disciplines to the course subject. We conclude with a discussion of results in terms of the effective use of team teaching at undergraduate level as strategy for interdisciplinary learning experiences.     

Embedded creativity: teaching design thinking via distance education

This paper shows how the design thinking skills of students learning at a distance can be consciously developed, and deliberately applied outside of the creative industries in what are termed ‘embedded’ contexts. The distance learning model of education pioneered by The Open University is briefly described before the technological innovations—which feature a fully integrated web 2.0 learning environment and design studio—and concepts behind a new course in Design Thinking are explained in detail. In teaching the more generic skills of design and developing experiential knowledge in students, the paper also explores the changing role of designers in becoming less problem-focussed and more socially engaged through the construction of design process. The paper ends by presenting the results of an extensive student and tutor survey as part of an ongoing longitudinal study which indicate that this new approach to teaching design has been successful.     

Reflection and professional identity development in design education

Design thinking positions designers as the drivers of the design space yet academic discourse is largely silent on the topic of professional identity development in design. Professional identity, or the dynamic narratives that individuals construct and maintain to integrate their personal qualities with professional responsibilities, has not been widely addressed in design education either. The study investigated the use of reflective writing in an introductory design course to help students explore and interpret their design beliefs, experiences, and self-awareness in support of professional identity development work. The results indicate that authorial presence, analysis, and narrative quality are common qualities in reflective responses, but emotion is notably lacking from student writing. Students were highly reflective in relation to a general experience with uncertainty and were least reflective when discussing ideation processes. Implications for design education and related research are analysed and discussed.     

Recognizing and fostering creativity in technological design education

The importance of creativity in technological design education is now clearly recognized, both in everyday understanding and also in formal curriculum guidelines. Design offers special opportunities for creativity because of the “openness” of problems (ill-defined problems, the existence of a variety of pathways to the solution, the absence of pre-specified “correct” solutions). However, teachers are still confronted by the question of how to specify which designs are creative and why, how to identify where the creative strengths of designs lie so that students can build on these, and what advice to give on how to change designs to make them more creative. There are also still open questions concerning design pedagogy. A “functional” model of creativity offers guidelines for making plain to students what they are expected to achieve with their designs and for diagnosing the creativity of the designs they offer. These yield, in turn, guidelines for design pedagogy.     

Mapping the journey: visualising collaborative experiences for sustainable design education

The paradigm of design is changing. Designers now need to be equipped with the skills and knowledge that will enable them to participate in the global move towards a sustainable future. The challenges arise as Design for Sustainability deals with very complex and often contradictory issues. Collaborative learning experiences recognise that these complex issues can be addressed with the pooling of diverse knowledge, perspectives, cultures, skills and tools. Unless, however the process of collaboration is explored in detail, the opportunity for reflection, learning and improvement is lost. This paper proposes that by introducing and analysing collaboration within third level design education, the capacity for responsible design practice can be developed, leading to a transformative shift in how designers are taught as students and subsequently practice as professionals. Over two multidisciplinary projects devised and undertaken by design students from the University of Limerick (Ireland), Hogeschool Utrecht (Netherlands) and Virginia Commonwealth University (USA), the collaborative path is mapped and critical junctions identified. From this process of mapping and visualisation, collective narratives of the overall project experience are constructed (through the eyes of the participants and planners). This leads to a greater understanding and appreciation of the benefits and limitations of the collaborative experience.     

PLM education in production design and engineering by e-Learning

These days more attention is being paid to Product Lifecycle Management (PLM) using a technique for managing total product planning, design, manufacturing, sales, and disposal. We researched business processes and education curriculum of the PLM system in manufacturing businesses. We designed the curriculum of PLM education and developed part of a lesson. Most importantly, e-Learning is shown to be an effective tool for achieving educational objectives. We found that not only knowledge and theory but also practical education methods using case studies in an e-Learning environment are necessary for human resources to develop effective PLM.     

The role of space in interdisciplinary collaboration in design education

The growing interest in the collaborative design education for innovation has mainly been concerned with students and learning outcomes. We know less about the collaboration between the tutors who teach interdisciplinary design courses. Addressing this gap, this article explores the effect of space on the interdisciplinary collaboration between faculty members from the fields of industrial design, architecture, engineering and business administration, who come together to design and conduct an extra-curricular educational activity, Interdisciplinary Design Studio (IDS) at METU. The empirical basis of this study comes from the interviews with the faculty members and the participant observation notes generated during the IDS meetings. The findings show that the effect of space on collaboration becomes evident over three issues, (1) the participation of tutors, (2) the commonality of their expectations from a design project, and (3) the interaction not only between students and tutors, but also among tutors as an interdisciplinary team.     

Concepts of creativity in design based learning in STEM education

International Journal of Technology and Design Education - Creativity is deemed as an integral part of twentyfirst century skills and is emphasized in science education curricula in Turkey as well...     

A model of creative design process for fostering creativity of students in design education

Creativity, which is concerned with problem solving, is essential if we are to generate new solutions to the massive and complex problems in the unknown future. Our next generation needs an educational platform where they can be taught to possess creativity. Design education is such a way to foster students’ creativity. Therefore, it is essential to understand the creative design process and its routine in order to show how students can generate creative output and how teachers can guide students in the design process. Consequently, the aim of this paper is to investigate the creative design process as it is employed in producing creative designs, and further recommend how students can practise and learn to be creative based on the model process developed in this paper. The model is expected to provide a guideline for teachers to facilitate students along the creative thinking process.     

Digital based media design: the innovative contribution of design graduates from vocational and higher education sectors

Design is increasingly being recognised as a key source of competitive advantage in the innovation economy of many countries. The key objective of this research was to understand the contribution by design graduates to creative industries innovative activities. Primary research was conducted to understand barriers and limitations of graduate contributions to such activities. The attributes and skills of graduates from the university and Vocational Education and Training sectors were the subject of the study. Two focus groups, one with the education sectors and the other with representatives from design firms, government institutions and design associations were held. Though each group of graduates was praised for having certain skill sets graduates from both sectors were found to be lacking in three key areas: problem solving, communication skills and commercial knowledge. A range of suggestions for systemic improvement were proposed as a result of the study.     

Uncovering learning outcomes: explicating obscurity in learning of aesthetics in design and technology education

Education and training interventions can be evaluated through the success of learning outcomes. Kirkpatrick's four-level model is a widely accepted and highly popular evaluation tool. However, some criticise the model's shortcomings. This article will examine the extent to which the four-level model can evaluate design and technology students' learning about aesthetics after an intervention by reporting our use of an augmented version of the four-level model. We examine the results in terms of students' reaction to the intervention, their long-term learning and their behaviour changes by studying their visual analyses and drawings through segment codes. We found that, in order to uncover the obscurities imbedded in aesthetics and to explicate the complexities, we could not use the four-level-model on its own, but had to revert to a more augmented version.

Concept learning by direct current design challenges in secondary education

This paper presents a mixed methods study in which 77 students and 3 teachers took part, that investigated the practice of Learning by Design (LBD). The study is part of a series of studies, funded by the Netherlands Organisation for Scientific Research, that aims to improve student learning, teaching skills and teacher training. LBD uses the context of design challenges to learn, among other things, science. Previous research showed that this approach to subject integration is quite successful but provides little profit regarding scientific concept learning. Perhaps, when the process of concept learning is better understood, LBD is a suitable method for integration. Through pre- and post-exams we measured, like others, a medium gain in the mastery of scientific concepts. Qualitative data revealed important focus-related issues that impede concept learning. As a result, mainly implicit learning of loose facts and incomplete concepts occurs. More transparency of the learning situation and a stronger focus on underlying concepts should make concept learning more explicit and coherent.     

包装结构设计多媒体教学

一前言 　　多媒体技术发展到今天，正迅速渗透到社会的各个领域，并受到人们的广泛欢迎和接受。多媒体 CAI(Computer Assisted Instruction)是多媒体计算机在教学领域中的成功应用，它是集文字、图形、图像、动画、音频、视频于一体，更加形象直观的表达教学信息，已成为课堂教学、实验教学、作业辅导、考试等教学环节的强有力的辅助手段。 　　多媒体教学 CAI克服了传统教学中的种种不足，充分发挥多媒体计算机技术的优势，使学生真正参与到教学中去，成为教学过程的主体。他们在此过程中可通过文字、语言、图像、动画等多种媒体形式…     

Towards a signature pedagogy for design and technology education: a literature review

International Journal of Technology and Design Education - Drawing on the work of Lee Shulman, this article reviews literature exploring the concept of signature pedagogies, which are described as...     

Practical modelling and hypothesis testing in primary design and technology education

This article explores relationships between designing and making in the work of children within the age range 5–11 when engaged in practical modelling tasks. The notion of the model is explored from the perspective of concrete representations. It is suggested that concrete models may be used as hypotheses from which to test ideas about the nature of the world. From this perspective, models may be seen to provide crucial platforms for learning. A wide range of sources has informed the article, and these embrace ideas on Hypothesis Theory drawn from linguistic research, as well as historical sources which trace the evolution and development of stimuli for model-making activity. A creative basis for modelling is explored such that a conclusion is reached in which design is seen as an expression of the modelling of possibilities.     

《机械设计基础》教学中学生的创新教育

《机械设计基础》是机械类各专业的一门主干技术基础课程,具有较强的理论性、实践性和综合性。教学中,在培养学生掌握设计的基本原理和最新方法的同时,还应注重对学生创新能力的培养。