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1.
Design education is in need of a wider restructuring to accommodate new developments and paradigmatic shifts brought forth by the information age, all of which capitalise a move towards complexity theory, systems science and digital technologies. The intention of this article is to approach one particular aspect of this need: that is, how basic design education can be reconsidered to establish the arguably broken link between the ‘learning by doing’ tradition of a Bauhaus‐oriented basic design education with the computational and parametric logic necessitated by contemporary design technologies. The authors present the overall outlines of a basic design course as offered in Beykent University Department of Industrial Design in Istanbul, Turkey. The programme consists of a series of exercises grouped in five modules and two ‘binders’ that are structured to link the fundamental notions and operations of design thinking covered in basic design courses of the first year with the analytical and computational‐reasoning competencies that are developed mostly in the later years of design education.  相似文献   

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This article reports on the findings of a study investigating creative risktaking behaviours of the commencing university students enrolled in three units across three disciplines: Interactive and Visual Design, Fashion Design, and Film, Screen and Animation. The study employs an action research methodology in order to help students develop confidence and competence in creative risk‐taking. Upon analysis from relevant literature three key provisions for the study are proposed, being: P1 An open and playful learning environment that encourages sharing and challenging multiple perspectives; P2 An adequate period of time for students to develop and revise creative concepts; and P3 Opportunities to assess their own performance in developing creative risk‐taking capacities. The study draws on the students’ written self‐reflections to identify the key challenges and opportunities in encouraging creative risk‐taking among first year students, which are challenges of collaboration; creative resilience and self‐efficacy; and balancing creativity with technical competency. The article suggests several ways that educators can encourage students to take creative risks within higher education in preparation for careers in the creative industries.  相似文献   

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While the interconnected and technological nature of the twenty‐first century can bring about many positive global connections, the importance of prioritising the development of the ‘inner world’ of designers is receiving less attention; similarly, time for contemplation, reflection and stillness is becoming scarcer. This article discusses mindfulness training from the Buddhist perspective, and how it can act as a pathway to personal introspection and as a supportive method for mental illnesses. With a special focus on design education, it discusses a novel framework, Mindfulness‐Based Design Practice (MBDP), and how it can potentially offer opportunities for design students to foster positive mind qualities such as mindfulness, compassion, resilience, and recognising the true nature of phenomena for becoming more ethical designers. Therefore, this article looks to bridge the gap between the significant lack of contemplative mindfulness‐based methods within the higher design education sector and the increasing mental health crisis within that sector. Thus, the primary concern of the MBDP is to advance both the individual and the collective development of the contemporary designer’s mind. Referring to the mind of the designer as the ‘inner designer’, this article forms an unfolding dialogue of the novel framework MBDP in support of mindful learning within twenty‐first‐century design education.  相似文献   

6.
Our everyday life is influenced by an overproduction of images and by an iconogenic surplus that is connected to the proliferation of media. These contribute to both the quality and quantity of communication, but simultaneously amplify the knowledge gap between an audience that is able to critically process messages and another that is affected uncritically by prejudices and stereotypes. Bellino argues for a critical media education to address this gap by encouraging the development of students' critical thinking and social awareness. In this article we will discuss the results of a research‐driven design project in which visual communication design students engaged with theories of cultural stereotypes and critiqued the role of media in their perpetuation. We adopted Kolb's model of experiential learning as recent published research demonstrates that art and design students have difficulties in conventional academic approaches to learning theory. In this regard students learned theories of stereotype through doing and making and embodied this learning in their critical project outcomes.  相似文献   

7.
Research concerning the basic course known as Foundations of Art and Design strengthens the pedagogical approach for K‐16 art and design education. The version of Foundations introduced to America by Josef Albers, although hardly changed, is shown to have continued, timeless relevance. Next, a sequential, implicit logic is revealed in linking the literature of the originators’ old intentions for the course, reflections by their students, and directions taken by later colleagues (particularly design scientists and the theorists addressing the current paradigm combining aspects of art, design, mathematics and science education), revealing some limitless, possible new dimensions. The first focus of this article points to the foundations course as a common denominator for the assimilation of complex new material through aesthetic play, paving the way for new cultural forms. A second theme begins to intertwine literature from many interdisciplinary fields, revealing a profound and deeply rooted pedagogical underpinning, accessible to art and design researchers and educators to aid with their move toward future transformation.  相似文献   

8.
This article focuses on current examples of project or design‐based learning at the secondary school level in the context of the increasing importance of creativity and innovative thinking in the twenty‐first century. The authors argue that students today learn more effectively in pedagogical practices that emphasise holistic thinking, active learning, visual media and problem‐solving. Design‐based learning presents new ways for realising long‐term goals and learning outcomes. The purpose of this article is to investigate best practices of design education in the community and to propose instructional resource examples on design to K‐12 school teachers. This article points out the importance of systemised process for the work of design‐based teachers and learners, addresses the study of design as a subject of investigation and a mode of inquiry that engages a variety of student learning styles and makes direct connections between subjects and problem‐solving in daily life. Our belief is that the case studies explored in this article represent the seeds of a new model of education based on creative and applied learning. The exemplar communities chosen for onsite research are the education department of the Cooper‐Hewitt National Design Museum in New York City and the Art Center College of Design in Pasadena, California, USA.  相似文献   

9.
A design studio is a critical venue for design students, as they are educated to develop design thinking and other skills through studio courses. This article introduces a design studio project in which Korean and Malaysian students worked jointly for one semester to design affordable urban housing. The Korean students were interior design majors and the Malaysian students were architecture majors; thus it was thought that the students' areas of expertise were likely to differ. It was also anticipated that the students would display cultural differences in terms of housing and planning practices. The motive for starting the joint design studio was the idea that a cross‐cultural collaborative working setting could redefine students' thinking styles and stimulate students to obtain non‐routine perspectives on the design of buildings and spaces. Through observation and interviews, we explored how students tackled affordable housing problems within the context of cross‐cultural and interdisciplinary design education. Collaborative learning in a joint studio situation supplemented students' expertise, re‐orienting approaches to design and opening up a holistic approach to the design issues of affordability, sustainability and community. Overall, the practical learning in the joint studio project validated the importance of exploring alternative solutions based on varied levels of information, and input of those from different educational and cultural backgrounds. The cross‐cultural and interdisciplinary collaboration allowed for a previously unavailable enhancement of design education by encouraging students to obtain divergent thinking for innovative design ideas.  相似文献   

10.
Contemporary architecture teaching in Colombia still resembles the traditional master–apprentice model, which is also common in many parts of the world. The model of regular curricular focus on classroom‐based modules where theory and practice are predominantly disengaged, leaving the students to make their connections. Students that learnt with these models face greater difficulties to apply knowledge, compared with students taught with active learning formats. It is argued that participatory design processes could be catalytic for change in this area, by empowering participants in the co‐creation of their socio‐spatial context. This article aims to contribute by suggesting a methodology for a Participatory Design Experience (PDE), which could be applied to transform a conventional teaching module into a student‐centred learning environment. The methodology was tested and refined through a case study, demonstrating its effectiveness in architectural education. The article describes it in detail in order to be replicated by educators in comparable scenarios.  相似文献   

11.
Design thinking is a collaborative problem solving and human‐centric approach that fosters innovation by elevating participants’ creative thinking abilities. Design thinking techniques and practices have been implemented into different curricula in secondary and post‐secondary education to address the need for new skills to be learned for the twenty‐first century. However, little work has been conducted to clarify how to evaluate the students’ design thinking skills gained in these courses. This study reports on a successful evaluation of an interaction design thinking curriculum in secondary level education. Several types of data sources, including participant observation, open‐ended questions and document analysis were employed to gather extensive data on students’ skills gained during the course. The results of the study inform design thinking researchers about how to evaluate design thinking skills of students in a secondary level design thinking course.  相似文献   

12.
“课程思政”是促进高等教育更好地发挥“四个服务”功能的理念创新、制度创新和实践创新,是育人的“根”与“魂”。针对目前高校能力本位教学中职业能力开发不够深入导致人才培养目标与社会需求脱节的问题,本研究对新时代课程思政内涵进行分析,以跨境电商阿里巴巴国际站产教融合项目平台为依托,以能力本位为理论指导,确定人才培养体系,并进行课程思政视域下高职跨境电商英语课程能力本位教学设计与实践。应用研究结果表明,课程思政视域下高职能力本位教学设计,不仅在学生的知识、技能与就业等三个维度有明显的促进作用,而且有助于提升学生团队合作能力、工匠意识,以及树立正确价值观。  相似文献   

13.
ARTEMIS (Art Educational Multiplayer Interactive Space) is an online multi‐user virtual environment that is designed around the objects, artefacts, philosophies, personalities and critical discourses of the histories and theories of art and design. Conceived as a means of reinvigorating art history and theory education in the digital age, ARTEMIS addresses the specific teaching and learning needs of a new generation of art and design students in higher education. This article is a case study that addresses the second phase of the testing and design development of ARTEMIS. It builds on the findings of the initial phase, which involved the development of the ‘proof of concept’ for an online virtual world and game designed for undergraduate students in the Faculty of Art and Design at Monash University in Melbourne, Australia. Drawing on a test trial and student response survey, this article assesses whether virtual environments like ARTEMIS can generate new life in art and design history, augment the teaching and learning mix in art and design higher education, and foster new modes of active engagement amongst students.  相似文献   

14.
In design disciplines, an affective understanding of users’ everyday lives can increase designer sensitivity and awareness, leading to higher-quality design outcomes. Developing students’ empathic understanding within design education is required to accomplish this goal. This article discusses learning strategies that enhance students’ empathic horizons, and specifically analyzes an assignment conducted in an Interior Architecture and Environmental Design course, “The Grandparent Experience.” Here, exposure through observation and interviewing, and art-based methods are employed to develop students’ empathy towards older adults. We conducted a survey with students who completed the exercise and the course, exploring their perspectives on their learning. The results reveal that students had positive views on the assignment’s effectiveness regarding the learning outcome and learning process. Implications for empathic design education and educational gerontology are discussed.  相似文献   

15.
This article is based on a project that explored the practices of art and design beginning teachers (BTs) working with learners in a post‐age‐16 context. The aim of the project was to: explore contemporary art and design practices; explore the concept of artist teacher learner researcher; enable beginning teachers to collaborate with post‐age‐16 pupils and develop new approaches and strategies to art and design pedagogy. Through practices that blurred learner‐teacher identities a dialectical pedagogy emerged and a collaborative community of practice developed, all enabled through a renegotiation and reconceptualising of places of learning. The beginning teachers also started to construct their artist teacher identities, understand what it means to practise as an artist teacher in the classroom, understand the impact of these practices on teaching and learning and develop new learning and teaching methods. This project demonstrates the possibilities of these practices for contemporary art and design pedagogy and also how these practices can endure and be sustainable for this community of beginning teachers in the current cultural, social and political contexts of education.  相似文献   

16.
How does education prepare future designers for current and future requirements of the field? An attempt to respond to this question is presented through the Design Workbook: a curricular project that has been proposed and developed over the course of three phases. In Phase One, the objectives, structure and format were defined: an online interface containing activities organised under five chapters that aim at building students’ creative confidence and sensitivity to surrounding contexts, and prepare them to lead their career path. In Phase Two, the website was developed to its first usable version, and content applied into live classes. Phase Three was marked with content refinement for the activities, navigation and feature redesign in the interface, and new ways of conducting the course. The article summarises learning points from the first two phases, and provides new findings and analyses from the final phase. It also includes a sample of the activities content, student works and feedback as well as the interface development stages. The methodology utilised throughout consisted of active research, as well as learning outcomes assessment using direct and indirect measures. Assessment results and classroom observations confirmed that students benefit greatly from visualising ideas, hands on activities, design thinking workshops, as well as from collaborative experiences, to avoid facing designer's block and to practise empowerment of self and others. Finally, challenges, opportunities and future implications are discussed, alongside implementation possibilities: The Design Workbook can run as a sole course, spread across the curriculum, and expand into the community.  相似文献   

17.
This article discusses the practical and ethical challenges and benefits of using social media and video‐based research methods – also known as Photovoice – to investigate contemporary Communication Design education. The two visual research methods discussed include the social media mobile application Snapchat® and participant‐generated GoPro® video filming. The investigation focused on understanding students’ on‐the‐ground, lived experiences of studio learning within two distinctive higher education case study settings in the United Kingdom and Australia. This study employed Participatory Action Research (PAR) as an inquiry process and incorporated a methodological framework involving a combination of narrative inquiry, visual Participatory Design (PD) and visual ethnography. The findings of this study revealed the impact of specialised studio and classroom‐based Technology Enhanced Learning (TEL) on student learning and engagement as the participants expressed differing responses to their own learning and community of practice at each site. The choice of arts‐based educational research methods used for this study allowed the relationships between place, lived experience, and community to be explored. Students, in effect, became investigators of their own practice through engagement in a rigorous set of visual methods, which placed the tools directly into their hands.  相似文献   

18.
Rapid technological advancement has changed the landscape of design education to be integrated with educational technology, and the worldwide COVID‐19 pandemic has further accelerated its transition to online education. Pedagogical engagement with online education is unavoidable to ensure that the transition is successful when the situation ends. Yet, many prior studies on online design education remain focused on technical and administrative uses of digital technologies. In this article, meta‐connective pedagogy is introduced to enable educators and researchers critically to engage with pedagogical concerns emerging from the connective nature of the digitally networked world. Meta‐connective pedagogy is to focus on we are always‐being‐connected and argue that authentic learning and teaching are determined by diverse forms of pre‐existing connectivity. This article consists of four parts. First, it is argued that studio‐based learning has developed a ‘resistant’ stance towards online education, which justifies the omission of understanding connective features from its discourses. Second, four up‐to‐date studies on online design education are critically reviewed in a comparative manner, as their views are split into technical and pedagogical aspects. Third, meta‐connective pedagogy is introduced to address why and how connectivity becomes an emerging pedagogical concern for online education. Fourth and last, a schematic form of meta‐connective design education is articulated, and new roles and responsibilities of educators are addressed. Overall, it is argued that the whole concept of design education is subverted towards connectivity that is inclusive of social components of traditional design studios in a more efficient way.  相似文献   

19.
As the economic pressure to teach more students with fewer (and less costly) instructors has increased in higher education, the utilisation of non‐career teachers has become more prevalent. Design education has not escaped this phenomenon; non‐career teachers, such as graduate and undergraduate students or design practitioners, have become commonplace in design education, including the design studio. The studio, however, is a unique teaching and learning environment in higher education. It poses distinct socio‐academic challenges for both students and teachers. The utilisation of non‐career teachers in studios raises a number of ethical and pedagogical questions. Teacher development is one serious concern. Here, the authors articulate the major challenges confronted by non‐career studio teachers, especially student teaching assistants, and strategies for their development.  相似文献   

20.
Interior design, as a field of study, is a rapidly growing area of interest — particularly for teenagers in the United States. Part of this interest stems from the proliferation of design‐related reality shows available through television media. Some art educators and curriculum specialists in the nation perceive the study of interior spaces as a ‘practical application’ of the arts. This article discusses an experiential design problem, originally used in higher education interior design studio courses that was modified and shared with students in third grade to address national academic standards. Later, this same project was modified for use with high school students in the educator's community and with international design students in South Korea. Lastly, the project was presented in a workshop to art education students at a higher education institution. The project was modified to address (1) the age group level and (2) a topic relevant to the audience. Goals of the design project were: (1) to explore creative problem‐solving, (2) to explore the application of design elements and principles, and (3) to increase student understanding of spatial relationships within an interior environment. Findings indicate that the project supported several visual art standards, including perception and community. This project may be of interest to current and future art educators and others interested in the potential of interior design content supporting art education.  相似文献   

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