Comparisons and Contrasts Between Elementary/Primary ’School Situated Design’ and ’Workplace Design’ in Canada and England

There is a lack of evidence that examines, together, the triad of how teachers in elementary/primary schools are translating curriculum requirements for teaching design, within technology frameworks, in their classrooms, how their students then proceed with design, and how ’school situated design’ relates to ’workplace design’. This paper explores the relationships between designerly thinking and behaviours situated in classrooms and in the workplace, beliefs about how designing is learned in schools and in the ’real world’, and children’s, teachers’ and designers’ understanding of design. These are be illustrated by extracts from interviews with teachers, children and designers and evidence of designing in classrooms and in the workplace. Similarities and differences between evidence from ’school situated design’ and ’workplace design’ and from Canada and the United Kingdom (UK) are discussed. This revised version was published online in July 2006 with corrections to the Cover Date.     

Culture-orientated product design

There is little in-depth research that can assist designers to use culture as a catalyst for designing innovative products within Botswana’s context. The concept of culture and design are intertwined, thus modifications stemming from cultural evolution both reflect and determine developments in design. The paper discusses an experimental design approach conducted at the University of Botswana and participants challenge was to transform and encode socio-cultural factors into product design features. The paper concludes by discussing a model which has shown one way concerning how to consciously specify, analyse and integrate socio-cultural factors in the design process.     

Creativity in Design Engineering and the Role of Knowledge: Modelling the Expert

The present study focuses on the relationship between the acquisition of design knowledge by novice design students and the quality of their designs. Design learning is typically based on action and reflection. Knowledge of solution processes, being part of this reflection, is found to be crucial in monitoring and controlling the design process and in reaching an optimal, creative result. The studies described in this article suggest a close relationship between the amount of process knowledge – knowledge of managing and monitoring the solution finding process – reported by novice designers, and the creativity of the designed product.     

Designers as Teachers and Learners: Transferring Workplace Design Practice into Educational Settings

The nature of the design process and how to develop this skill in novice designers has been of considerable interest to technology educators. The relationship between workplace and school-based design is one area in which a need for further research has been identified by Hill and Anning (2001, International Journal of Technology and Design Education 11, 111–136). The research project described in this article had two aims. The first was to compare the workplace practice of six experienced designers with their practice when working on a technological assessment task as part of a pre-service teacher education programme. The second aim was to investigate their experience on teaching practicum in developing design skills with secondary school students. Findings from the research are described and the paper concludes with a discussion of the implications for teaching technology education.     

Drawing Out Ideas: Graphicacy and Young Children

Drawing offers a powerful mode for representing and clarifying one‘s own thinking and for communicating ideas to others. Young children instinctively use drawing in the same exploratory way that designers use sketching to ’converse with themselves‘ when generating ideas. The two distinctive traditions of drawing in Technology and Fine Art are replicated in the Design and Technology and Art and Design curricula in England and Wales. However, because we lack research evidence about (i) the processes by which children develop drawing capability and (ii) the effects of school culture and pedagogy on the development of children‘s drawing capability, teachers are confused about how to teach drawing and unsure about the role of graphicacy in promoting children‘s learning in both subjects. In this article the particular dilemmas of teaching design drawing to young children will be discussed. A research agenda for the teaching and learning of drawing in primary schools will be outlined. This revised version was published online in August 2006 with corrections to the Cover Date.     

Navigating worlds of information: STEM literacy practices of experienced makers

Making as a design-centered learning activity has recently received significant attention in education. We use literacies—how individuals use representations to learn—to explore the STEM literacy practices of experienced designers and makers. Describing makers’ representational practices in STEM contexts can inform the design of literacy supports for young makers that can encourage their use of representations to connect STEM disciplines and design practices. We interviewed experienced makers to describe one literacy practice central to design: identifying, organizing, and integrating information. Makers enacted this practice within specific making processes—e.g., designing—with the purpose of sourcing and navigating information related to their chosen problems. The research supports efforts to bridge learning while making with learning in schools by positioning STEM literacies as central practices involved in the processes of designing and making.     

Perceptions of Industrial Design: The “Means” and the “Ends”

It is widely accepted that industrial design can play an important role in the development of innovative products, but integrating design‐thinking into new product development (NPD) is a challenge. This is because industrial designers have very different perspectives and goals than the other members of the NPD team, and this can lead to tensions. It has been postulated that the communications between NPD managers and industrial designers are made more difficult because each group uses very different language. This research made the first empirical investigation of the language used by designers and managers in describing “good” and “poor” industrial design. In‐depth interviews were conducted with a sample of 19 managers and industrial designers at five leading companies. Multiple sources of data were utilized, including the repertory grid technique to elicit the key attributes of design, from the perspective of managers and designers. Using a robust, systematic coding approach to maximize the validity and reliability of qualitative data analysis, it was established that managers and industrial designers do not use a completely different vocabulary as previously supposed. Rather, it was found that managers and industrial designers use some common terms augmented by additional terms that are specific to each group: managers are commercially orientated in the “ends” they want to achieve and designers perceive more antecedents (“means”) necessary to achieve their “ends”—iconic design. This research led to a grounded conceptual model of the role of design, as perceived by managers and industrial designers. The implications of the results achieved are wide: they indicate how managers and designers can interact more productively during NPD; they highlight the need for more research on the language of designers and managers; and they point to issues that need to be covered in the education of industrial designers. Finally, this work suggests how managers and designers can engage in a more fruitful dialogue that will help to make NPD more productive.     

Sketching: Friend or Foe to the Novice Designer?

Previous research by one of the authors showed that novice designers do not use sketching as a way to generate, develop and communicate design proposals, but move immediately to three-dimensional modelling. Neither do they generate multiple solutions.     

Integrating Customer Requirements into Product Designs

Despite all best efforts, the design process often leads to the introduction of products that do not meet customer expectations. Although the design team typically applies customer-related information from several sources, the product design somehow fails to satisfy customer requirements. Clearly, we need to develop a better understanding of the process by which designers in large development organizations transform information about customer requirements into the final design specification. To improve our understanding of this process, Antonio J. Bailetti and Paul F. Litva examine design managers' perspectives on the sources of customer requirement information. During the evolution of a product design, the design team applies information that is endorsed by marketing and product management. Common sources of such information include commercial specifications, inferences from existing products and services, deployment studies, and external standards. When this management-endorsed information is deemed inadequate, designers supplement it by creating and sharing their own customer-related information. This local information includes the results of benchmarking function and performance, the designers' perceptions of a service provider's installed base of equipment, and validations of intermediate designs. Marketing and product management cannot easily review the local information that designers create and share in evolving a final design. This article highlights the importance of creating mechanisms for ensuring that customer requirement information from various sources is internally consistent. To meet this goal of consistency, organizations must ensure that customer requirements information produced by marketing satisfies the information processing requirements of the design community. In addition, the knowledge that designers actually apply to produce a design must incorporate customer requirement information endorsed by marketing and product management at all stages of product development.     

Using ‘Electronic Portfolios’ to Challenge Current Orthodoxies in the Presentation of an Initial Teacher Training Design and Technology Activity

The paper examines the extent to which a University undergraduate curriculum initiative provided initial teacher trainees with opportunities to challenge orthodox design methodologies through the production of an electronic portfolio within and extended design and technology activity. It was found that the ‘electronic portfolio’ served primarily as a developmental tool for promoting creative continuity and sound, reflective, design practice within a structured educational design challenge. The portfolio also provided a focus for the development of ‘e’ learning skills as it facilitated the use of new technologies in the compilation of the portfolio. Additionally, the portfolio provided trainees with a means by which they were able to demonstrate their capability to prospective employers. The use of the ‘electronic portfolio’ challenges current orthodoxy and methods routinely employed to present and assess trainees’ creative work, which have been shown to constrain innovative practice. The paper concludes that the use of the ‘electronic’ portfolio was successful in facilitating trainees’ engagement with a creative Design and Technology process.     

Do computers improve the drawing of a geometrical figure for 10?year-old children?

Nowadays, computer aided design (CAD) is widely used by designers. Would children learn to draw more easily and more efficiently if they were taught with computerised tools? To answer this question, we made an experiment designed to compare two methods for children to do the same drawing: the classical ‘pen and paper’ method and a CAD method. We asked two groups of 14 children to draw a geometrical figure: the Rey-Osterrieth Complex Figure (ROCF). The first group drew it with a pen on a sheet of paper (‘paper’ group) and the second on a computer screen with CAD software (‘computer’ group). Two drawing conditions were studied: ‘Copying’ the figure and drawing from memory. Results showed that the ‘computer’ group was better at copying the figure but that both groups performed equally well when the figure was drawn from memory. These preliminary results suggest that using a CAD tool could help children while they copy a model, but that it does not improve their ability to draw the same figure using their own, internal model.     

Empirical Evidence on the Success of R&;D Cooperation—Happy Together?

In this paper we analyse the effect of past R&D cooperation on current firms’ innovation performance. Success measures are: sales of innovative products, distinguishing between products new to the firm and new to the market, and cost reductions due to innovative processes. Particular attention is paid to the impact of different cooperation partners. The analysis rests on firm-level data of the annual German innovation survey. We find that R&D cooperation with competitors leads to greater cost reductions that are attributable to innovative processes. R&D cooperation with research institutes has a positive influence on a firm’s economic success with market novelties.      

A ‘Knowledge Trading Game’ for collaborative design learning in an architectural design studio

Knowledge-sharing and resource exchange are the key to the success of collaborative design learning. In an architectural design studio, design knowledge entails learning efforts that need to accumulate and recombine dispersed and complementary pieces of knowledge. In this research, firstly, ‘Knowledge Trading Game’ is proposed to be a way for promoting students’ design knowledge exchange, dissemination and refinement. Twelve students are randomly chosen as experimental participants. And secondly, ‘virtual value’ is used for students to trade their design knowledge. In this game, students buy others’ design knowledge to extend their design problem space; students decrease their design solution space through their sold design knowledge. Finally, ‘protocol analysis’ is adapted as the research methodology to examine the results of implementation. A positive outcome is identified that Knowledge Trading Game encourages collaborative design learning.     

Research on Basic Design Education: An International Survey

This paper reports on the results of a survey and qualitative analysis on the teaching of ‘Basic Design’ in schools of design and architecture located in 22 countries. In the context of this research work, Basic Design means the teaching and learning of design fundamentals that may also be commonly referred to as the Principles of Two- and Three-dimensional Design. The body of knowledge associated with Basic Design may be regarded as part of the general theory of teaching and learning design as practiced in many design schools and which has its origins in the classical design schools such as the Bauhaus. In the author’s perception and practice, the pedagogy of Basic Design promotes a holistic, creative and experimental methodology that develops the learning style and cognitive abilities of students with respect to the fundamental principles of design. This includes an understanding of the elements of shape, colour, texture, light, and rhythm in a manner complementary but usually unrelated to the common design methods teaching approach. As is well known among design practitioners, including architects and industrial designers, a deep understanding of the purpose of these fundamental design elements and principles is still relevant to contemporary design practice. The main objective of the research described in this paper was to determine the status and development of Basic Design pedagogy in a significant number of contemporary design schools. On the basis of the results of two surveys conducted in 2001–2002, this paper will identify and illustrate interesting aspects concerning the programmes and organisation of courses delivered by teachers of ‘Basic Design’. This work will also survey the viewpoints of Basic Design teachers in elementary years of design courses and of those teaching design through projects during the subsequent years of the same courses. Interestingly, the design project teachers surveyed in this research expressed a desire to be more involved in the teaching of Basic Design fundamentals which indicates strongly that Basic Design principles are still relevant in contemporary design education terms as they have ever been and that more research is needed in order to better understand and apply the related pedagogy.     

Positioning industrial design students to operate at the ‘fuzzy front end’: investigating a new arena of university design education

This paper describes pedagogic research to instigate, support and understand a significant change in the education of undergraduate industrial design students. Design educators at Loughborough University, UK, have proposed that it will be critical for future industrial designers to learn new knowledge and abilities which will enable them to successfully operate at the ‘fuzzy front end’ of new product development. This is an arena before a traditional design brief exists (i.e. ‘pre-brief’), and typically involves in-depth investigation of such issues as users, experiences and brand, followed by exploitation of the findings. Curriculum development and new teaching, evolved over five annual cycles of implementation, reflection, planning and new implementation, is described. A model of the activities and processes of this ‘pre-brief’ arena is presented. Through structured investigation of the cycles of improvement and follow-up evaluation research, evidence gathered from stakeholders (students, educators, and industry) indicates that industrial design students can be taught to successfully operate at this fuzzy front end, and that this can be a highly effective strategy for students in their design project work. It also suggests that the students’ enhanced abilities will be in demand following their graduation.     

Adopting Design Thinking in Novice Multidisciplinary Teams: The Application and Limits of Design Methods and Reflexive Practices

Scholarly and practitioner literature have both described the potential benefits of using methods associated with a “design thinking” approach to develop new innovations. Most studies of the main design thinking methods—needfinding, brainstorming, and prototyping—are based either on analyses of experienced designers or examine each method in isolation. If design thinking is to be widely adopted, less‐experienced users will employ these methods together, but we know little about their effect when newly adopted. Drawing on perspectives that consider concept development as broadly consisting of a divergent concept generation phase followed by a convergent concept selection phase, we collected data on 14 cases of novice multidisciplinary product development teams using design methods across both phases. Our hybrid qualitative and quantitative analysis indicate both benefits and limits of formal design methods: First, formal design methods were helpful not only during concept generation, but also during concept selection. Second, while brainstorming was valuable when combined with other methods, increased numbers of brainstorming sessions actually corresponded to lower performance, except in the setting where new members may join a team. And third, increased team reflexivity—such as from debating ideas, processes, or changes to concepts—was associated with more successful outcomes during concept generation but less successful outcomes during concept selection. We develop propositions related to the contingent use of brainstorming and team reflexivity depending on team composition and phase of development. Implications from this study include that novice multidisciplinary teams are more likely to be successful in applying design thinking when they can be guided to combine methods, are aware of the limits of brainstorming, and can transition from more‐ to less‐reflexive practices.     

Investigating the use of design methods by capstone design students at Clemson University

The authors describe a preliminary study to understand the attitude of engineering students regarding the use of design methods in projects to identify the factors either affecting or influencing the use of these methods by novice engineers. A senior undergraduate capstone design course at Clemson University, consisting of approximately fifty students and nine graduate design coaches, was chosen as the unit of analysis. Results from a survey of the class suggest that, though these novice engineers were convinced that design methods they were eager to learn were of use in helping them make better products, they tended not to use them. The stated reasons for not using them were the effort required to implement the methods, to understand how and when to use the methods, and the pressure to deliver results in a short duration. Recommendations from this study can be useful in designing effective design education programs and to develop more designer-friendly design methods.     

Reusing design knowledge based on design cases and knowledge map

Design knowledge was reused for innovative design work to support designers with product design knowledge and help designers who lack rich experiences to improve their design capacity and efficiency. First, based on the ontological model of product design knowledge constructed by taxonomy, implicit and explicit knowledge was extracted from some design cases. The design knowledge was expressed using a constructional organization. With the knowledge map, design knowledge was illustrated to help novice designers reconstruct specific design cases, thus, encouraging innovative design. Four groups of designers were invited to participate in an experiment for the design knowledge map system. The experiment results verified the effectiveness of the method.     

Adding Value to the Teaching and Learning of Design and Technology

It has been argued that design and technology can be used as a vehicle for teaching science and vice versa. In this paper, we report an investigation into Grade 6 students understandings of concepts embodied in the Systems strand of a technology syllabus as they grappled with a unit of work in technology for the first time. The unit of work involved students in the design and construction of simple systems, followed by experiences with more complex systems. Qualitative research methods were used to investigate the activities of the students as they engaged in the design and technology learning experiences for eight weeks. Data sources included student and teacher interviews, video and audio recordings of whole class and small group interactions, students notes, drawings and diagrams, and researchers field notes and reflections. Changes in students ability to identify the individual components and analyse how the components worked together in systems, and evidence of students use of scientific understandings for explanations, were noted as the unit of work progressed. An improvement was observed in students abilities to describe relationships between inputs, processes and outputs, and outline sequences of cause and effect. The technology and science appeared to be complementary as they developed technology specific and action-oriented technology and science language, which may be evidence of the presence of a community of learners. Recommendations are proposed for enhancing the value of both design and technology and science if both subjects are taught together as part of an integrated program in primary schools.