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.     

Export experience counts: exploring its effect on product design change

In this paper, we explore how managers' export experience can affect the change in product design following changes in perceived past performance. Using data from 519 Portuguese exporters, we find that performance improvement will encourage safe decision making in which firms either will not change the product design or will change it in a way that makes it more similar across the product range. However, when managers' export experience is greater, they encourage change in ways that could support product differentiation. The abilities of experienced managers to read the market, i.e. to interpret changes in performance and translate them into product specifications, help explain these findings. We contribute to the literature in two ways. First, we explore the relationship among past export performance change, product design, and managers' export experience. Second, we identify specific kinds of design changes that firms adopt in response to changes in different dimensions of organizational performance. Based on our findings, we would recommend to new product development managers to consider both managers' export experience and the dimension used to measure performance when evaluating calls for standardizing the design by export managers. Our findings suggest that such calls could be driven by short‐term gains in export performance. Furthermore, we would also emphasize the need to routinely capture information from experienced export managers to ensure that it is considered in future decisions about design changes.     

The effects of creative problem solving training on creativity, cognitive type and R&D performance

The effects of Creative Problem Solving (CPS) training on creativity, cognitive type, and R&D performance were investigated with 106 R&D workers of a large government–owned manufacturing company in Taiwan. Seventy–one of them volunteered to participate in the CPS training and were divided into three groups. Each group received 12 hours of CPS training and two follow–up training sessions over a one–year long period in a time–series design. The 'Circle Test of the Torrance Test of Creative Thinking', and the 'Myers–Briggs Type Indicator' were administered before and after the CPS training. R&D performance averaged over the past three years before the CPS training and one year after the pretest were obtained from the company. Results showed that participant's scores on fluency and flexibility of ideas were higher after the CPS training. There was also an increase in the number of persons being classified as extrovert or feeling type of cognition. In terms of R&D performance, the participants' number of co–authored service projects increased significantly from pretest to posttest, whereas no such change was observed among those 35 R&D workers who did not participated in the CPS.     

Time pressure and creativity in industrial design

Creativity is a critical aspect of competitiveness in all trades and professions. In the case of designers, creativity is of the utmost importance. Based on the perspective of industrial design, the relationship between creativity and time pressure was investigated in this study using control and experimental groups. In the first part of the study, fuzzy theory, the Creative Product Analysis Matrix, the Analytic Hierarchy Process, and Consensus Assessment Techniques were integrated to establish a method to evaluate creativity in industrial design. Moreover, the experimental and control groups were compared using three tests: the Torrance Tests of Creative Thinking, the product concept development test, and the product aesthetic development test. Six hypotheses were examined. Based on an analysis of the results, suggestions are offered to improve creativity management. The suggestions can serve as reference for creativity management of individuals, groups and companies in order to make the concept generating process more efficient.     

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.     

Knowledge creation and new product performance: the role of creativity

This research is concerned with how knowledge creation influences new product performance through creativity, which includes novelty and appropriateness. The following relationships are examined in our proposed model: (1) the influence of knowledge creation on new product performance; (2) the influence of novelty and appropriateness on new product performance; and (3) the influence of knowledge creation on novelty and appropriateness. A questionnaire was designed and mailed to the sampled Taiwanese manufacturing companies. The analysis results show that knowledge creation helps research and development personnel create novel and appropriate products, which in turn increase new product success. New product performance is affected by both novelty and appropriateness, the former of which has a greater influence. Through additional exploratory analyses, in which socialization, externalization, combination, and internalization are antecedents, we show that socialization's effect on new product performance is fully mediated by novelty and appropriateness, but internalization's influence is only partially mediated. Meantime, the influence of externalization on performance is fully mediated by novelty, but not by appropriateness. Combination has a direct influence on new product performance. Finally, this research provides theoretical and managerial implications based on these results.     

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.     

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...     

Shared knowledge and product design glitches in integrated product development

Product development processes based on the joint collaboration of the cross-functional team, suppliers, and customers can minimize project glitches. Glitches in the product development project can cause project cost over-runs and delay a project past when first mover advantages are possible. While previous theoretical work has suggested a negative relationship between shared knowledge and product development glitches, empirical studies have not identified how different types of shared knowledge are associated with each other and the design glitches. This study proposes a model of the relationship between specific types of shared knowledge and design glitches in integrated product development (IPD) projects. We test our model using a sample of 191 projects from the automotive industry in the United States. The major findings were that: (1) shared knowledge of the development process can be built by improving a team's shared knowledge of customers, suppliers, and internal capabilities, (2) shared knowledge of the development process for a project reduces product design glitches, and (3) reduced product design glitches improve product development time, cost, and customer satisfaction.     

The locating of emotion within a creative, learning and product orientated design and technology experience: person, process, product

Within this paper, a conceptualised triadic schema is hypothesised for locating emotion within a creative, learning and product orientated Design and Technology experience. The research is based upon an extensive literature review that has been synthesised and juxtaposed with the broad aspirational aims of the subject. The schema, based upon abductive reasoning and grounded theory, ultimately conceptualises the overarching theme of emotion within a creative, learning and product orientated Design and Technology experience within the Primary and Secondary stages of England’s education system. The triadic schema offers an additional opportunity in meta-theorising how the broad aspirational aims of the subject, as outlined in the English national curriculum statement of importance for Design and Technology, can be achieved through recognising the powerful overarching concept of emotion within three emerging domains: Person, Process and Product. The central tenet of this paper is the recognition of emotion within a triadic schema for meta-theorising the place of emotion within a creative, learning and product orientated Design and Technology experience. David Spendlove was previously a senior teacher in secondary education before moving into Higher Education and is now the subject leader for Design and Technology at the University of Manchester. He co-edits both Design and Technology Education: An international Journal and the DATA international research conference proceedings. He is a director of the Design and Technology Association and his research interests are broadly based around learning, pedagogy, creativity, emotion and gender.     

绿色设计在工业产品设计中的应用

随着人类生存环境的不断恶化,资源可持续发展的重要性逐渐被人们所认识,引发了绿色设计和人性化设计等设计思潮。从3个方面对绿色设计在工业设计中的应用进行了认识分析,指出绿色设计融入工业设计是工业设计发展的必然趋势,它会使工业设计更加符合人类消费心理的需求,符合社会发展的需求,使工业设计理论更为科学实用。     

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.     

Difference in time influencing creativity performance between design and management majors

This study is aimed to obtain a better understanding of difference in time of day as a factor influencing creativity performance between design and management programs students. Two hundred and ninety-seven college students, consisting of 154 design majors and 143 management majors at a university, participated in this study. Two idea generation tasks adapted from the Torrance Tests of Creative Thinking verbal tests were used to collect data on their creativity performance across school time intervals. The results show that the distributions of creativity performance across school time intervals reveal statistically significant differences in the fluency and originality measures between the two disciplines. Further, for the design majors, statistically significant differences are found in the fluency, originality, and elaboration measures of creativity; for the management majors, no difference is found for any of the creativity measures. That is, time of school day is a concern in creativity performance for the design students but not a significant factor for their counterparts. It is suggested that the timing issue should be taken into account when we try to assess the instructional and learning performance of creativity-related courses. An open mind and awareness of program differences are expected. More alternatives to improve time-constrains in traditional in-class learning and instruction are also suggested at the end, to create a more individualized and flexible learning environment for creativity.     

Perspectives on pupil creativity in design and technology in the lower secondary curriculum in England

This paper is based on work carried out as part of a research study into the professional practices of secondary design and technology teachers in England. It focused on fostering creativity or teaching for creativity as defined by the Robinson Report (1999, All our futures: creativity, culture and education. London: Department for Education and Employment (DfEE)) for pupils aged 11–14 years. The overall research question that drove this study was “to what extent can teachers influence the creativity of pupils aged 11–14 years in design and technology lessons?” The paper provides the basis used to generate a unique theoretical three-feature model or framework that can be used to explore creativity within an educational context.The findings of three investigations in the study are presented in this paper. The first and second investigations looked at what could be learnt from the professional practices of art and design and design and technology teachers and the views of four ‘expert’ teachers known for their ability to develop the creative potential of their pupils. The data is discussed under emerging themes and it is used to inform specific criteria in the evolving theoretical three-feature model for creativity. The model is then used to analyse the data from the third classroom based investigation and the findings are discussed under the emerging themes to help identify the issues related to fostering creativity within the design and technology classroom.This paper discusses the implications of the research for classroom practice and suggests that, as creativity is a complex, multi-faceted concept and process, the theoretical three-feature model and related criteria evolved in the study provides a sound framework to explore creativity within an educational context. As a tool it helps identify examples of good practice and highlight areas that require further attention by teachers aiming to foster their pupils’ creativity. It is suggested that design and technology teachers have lessons to learn from the practices of their art and design colleagues and ‘expert’ design and technology teachers. It is concluded that there is a need for greater understanding by teachers of their implicit theories regarding teaching, learning and creativity. A wider use could be made of the breadth of strategies outlined by the ‘expert’ teachers. This would help address the weakness identified in the school based study and strengthen classroom practice when teaching for creativity.     

The student attitudes towards digital and conventional drawing methods in environmental design studios and the impact of these techniques on academic achievement in the course

International Journal of Technology and Design Education - In recent years, technological advances had an impact on the field of education, and computer technologies were started to be used mainly...     

Methods that may stimulate creativity and their use in architectural design education

The architectural design process is based on a creative phase where creativity is highly valued. Although the literature on creativity is rich in ways to stimulate the decision-making process, these tools are rarely formally present in the building design process. To further the discussion on creativity and design education this paper presents a study on methods that may enhance the creative process and their application in architecture courses around the world. The results of this inquiry indicate that design instructors apply methods that may stimulate creativity mostly informally, with some positive results. To explore more fully the richness of the literature on the enhancement of creativity, structured applications of methods are recommended in controlled experiments to analyze results.     

Using an analogical thinking model as an instructional tool to improve student cognitive ability in architecture design learning process

Lack of creativity is a problem often plaguing students from design-related departments. Therefore, this study is intended to incorporate analogical thinking in the education of architecture design to enhance students’ learning and their future career performance. First, this study explores the three aspects of architecture design curricula, interaction and students’ cognitive development. Then the study discusses learning based on analogical thinking into two parts: analogical learning and analogical reasoning. The samples in this study were the freshmen of the Department of Architecture, China University of Technology. The model was used in a five-week unit of the course of Architecture Design, a required course for all the freshmen. Questionnaires were given to the students before and after the unit to evaluate the influences of the model in the dimensions of Teaching, Teacher-student Interactions, Student–student Interactions, Cognitive Development, and Overall Learning Performance. The questionnaire results were collected and statistically analyzed. The analysis results indicated that, the students scored significantly higher in each of the dimension after the unit than before the unit. These findings suggested that the use of an analogical thinking model can be helpful in the teaching of architecture design. Hopefully, the findings of this study can provide helpful references for not only teaching of architecture design but also future related research.     

The role of functional and demographic diversity on new product creativity and the moderating impact of project uncertainty

Earlier studies have shown inconsistency in the impact of team diversity on the effective functioning of New Product Development (NPD) teams. This inconsistency has been attributed to the insufficient amount of research on a possible complex (non-monotonic) relationship between team diversity and team performance and the possible boundary conditions of this relationship. Addressing numerous calls for future studies on these issues, we examined whether an inverted-U relationship exists between team diversity (i.e., functional and demographic) and its outcomes (i.e., new product creativity), using project uncertainty as a key moderator. The results of an empirical study with a sample of 103 new product development teams showed an inverted U-shaped functional diversity–new product creativity relationship. Moreover, the results showed that the direct relationship between functional diversity and new product creativity was stronger when project uncertainty was high as opposed to when it was low. On the other hand, the direct relationship between demographic diversity and new product creativity was weaker when project uncertainty was high as opposed to when it was low.     

The impact of product market competition on corporate environmental responsibility

Although the mainstream of current thinking in the business literature recognizes that firms should invest in environmental responsibility, the theory on how product market competition affects firms’ environmental responsibility remains undeveloped. Using cost-benefit analysis, we hypothesize that the relationship between product market competition (i.e., differential industry-level competition and heterogeneous firm-level market power) and corporate environmental responsibility (CER) will be curvilinear. We find support for this hypothesis through an empirical test on a panel of 792 listed manufacturing companies from 2006 to 2008 in China. The results show that (1) either too much or too little industrial competition and (2) either too much or too little firm-level market power lead to lower environmental responsibility. Our results reveal that CER is strategically chosen and related to competitive situations.     

Customer interactivity and new product performance: Moderating effects of product newness and product embeddedness

Understanding customer needs which drive significant product innovation is particularly challenging for new product development (NPD) organizations. Research has addressed how organizations benefit from interacting with customers, but more conceptualization is needed into the dimensions of the customer interaction process. In a business-to-business (B2B) setting, customer interactivity is conceptualized as a multi-dimensional construct consisting of bidirectional communications, participation, and joint problem solving during NPD projects. Drawing upon organizational information processing theory, customer interactivity is hypothesized to be positively related to customer information quality when developing highly innovative products, but not when developing modifications or extensions of existing products. Another condition affecting this relationship studied is the embeddedness of the new product in the customer's business environment. Customer interactivity is hypothesized to be positively related to information quality for highly embedded product, but not for low embedded product. Results from a sample of NPD organizations in several B2B industries support these hypotheses. The study contributes to the marketing literature and practice by identifying important dimensions of the customer interaction process which lead to more proactive organizations, and identifying two moderating conditions of the customer interactivity and NPD performance relationship.