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2.
Interior design students should be able to use research and evidence‐based design outcomes to make decisions that promote health, safety and wellbeing. This approach will contribute to resolving social, environmental and community issues through design‐oriented thinking Accordingly, the aim of this research in a senior design studio course is to promote a better connection to the local environment needs without losing the creativity aspect. This study covered two semesters and used multiple data collection methods, including interviews, observational field notes, discussions and personal reflections. The findings showed that jury critiques and case study analysis were the most beneficial sources of information for students to develop their project ideas and solutions. The paper illustrates processes, products and aspects that are used in senior projects to find solutions to environmental needs. In addition, the study offers lessons learned and reflections to raise students’ awareness of the cultural needs in relation to the interior design field. This study shows findings similar to earlier research that found that students who identified and analysed a local case study understood the design problem better and were creative in linking their project design solution to the society's needs. The study also reveals that students who relied on analysis of well‐defined local case studies developed focused and detailed concepts and design solutions according to the instructor's and jurors’ assessments. The study also contributes to literature by using a multi‐method approach and offers implications for local and international policy‐makers on interior design curricula.  相似文献   

3.
A significant component of design pedagogy is the need to foster critical design thinking and to support students in understanding links between educational exercises and their potential application in professional design practice. Problem solving is central to design so it is also essential that students understand that there can be multiple solutions to a design brief, and are supported in creative experimentation and in generating imaginative outcomes. This article examines some innovative approaches to addressing these pedagogical needs. It investigates the effectiveness of pedagogical design incorporating the Immerse Lab, a three‐wall projection room at an Australian university, as a learning context for design practice, for generating ideas and for supporting learning involving the comparative display of design outcomes. Anonymous student survey results revealed that the majority of students found learning in the Immerse Lab to be beneficial; comparative review more effective than in standard tutorial rooms; that the activity generated new ideas; it encouraged students to think differently about their designs; and it inspired students to develop their existing designs or create new ones. The project demonstrated that curricula involving immersive spaces can be effective in supporting engaging and relevant design pedagogy.  相似文献   

4.
This article reports about a study developed to understand the effectiveness of instructional strategies to manage sketch inhibition in design students through studio-based pedagogy. Sketch inhibition among students and recent graduates of design programs is a prominent aspect of the prevailing digitization of the design industry and education. While traditional and digital media are ideally complementary tools to facilitate the complex process of designing, studio instructors struggle to effectively integrate both into their students’ conceptions and practices. Primary data sources were ethnographic fieldnotes, semi-structured interviews, and students’ responses to open-ended survey questions. Whiteboards used as an impermanent medium, requests for quantity of sketches, and gentle enforcement of time limits were incorporated into studio practices on the foundation of theoretical grounding. Students understood the purpose and advantages of using hand sketches at strategic moments during the design process. Inhibited students responded to this combination of interventions by relaxing enough to focus on engaging with the relevant design tasks rather than focusing on how best to avoid them. Production of rich records, documenting their projects’ progression, served as supporting evidence that sketching had become a more normal and accepted part of the design process than for previous studio cohorts. The authors suggest more experimentation with these strategies and propose that sketching instructors prioritize and nurture ‘thinking sketches’ over ‘persuasive sketches’ to transfer attention from the representation of design solutions toward the design process and the development of mature design solutions.  相似文献   

5.
针对机械类本科学生在工程实践能力培养过程中感性知识相对不足,造成工程创新与设计能力欠缺,创新设计缺乏源泉的问题,立足于培养学生的创新能力,提出了在学生的设计实践活动环节采用仿制与变型设计的训练方案,运用适应性设计与变型设计原理,借助于仿制设计工程训练手段,强化学生工程设计的创新与实践能力基础,引导学生进行创新设计探索。  相似文献   

6.
For the past few years, creativity has gradually become an important element in the national cultivation of talent in Taiwan. Although traditionally art education is closely linked with creativity, the academic research on general art education is very insufficient. Therefore, the goal of this research is to investigate how creativity could be cultivated in curriculum planning for general art education at technology universities as well as what students’ learning process was when they participated in a course's creative activity. The research applied the theory and steps of creative problem‐solving (CPS) on a general art course to design a group practical activity combining with the local community. This involved converting the steps of creative problem‐solving into different stages of group design activities with the goal of constructing a design process equivalent to the process of problem‐solving. The main research results revealed that students could experience the problem‐solving process through group design activities and develop their divergent and convergent thinking at the same time. Moreover, the cooperative learning model is the most appropriate teaching strategy for students from non‐art‐related departments when cultivating their creativity.  相似文献   

7.
When translating word problems into equations, a common error consists of using the same letter to refer to two different quantities. This error, called multiple referents for the unknown, can be connected to the existence of deictic or indexical expressions within the problem statement. This paper aims to analyse the influence of indexical expressions on the incidence of the multiple referents for the unknown error. Results from a quantitative study with 117 Spanish secondary students show a significantly higher number of such type of error when the problem statement contains indexical expressions. The analysis of students’ performances in subsequent interviews indicates that this error may be due to the fragmented reading of statements.  相似文献   

8.
Schools are continuously looking for new ways of enhancing student learning to equip students with skills that would enable them to cope with twenty-first century demands. One promising approach focuses on design thinking. This study examines teacher's perceptions, experiences and challenges faced in adopting design thinking. There is a lack of empirical research on the adoption and implementation of the design thinking process in educational context from the teachers’ point of view. This paper fills this gap and also provides insight on a recent initiative adopted in Singapore schools. Qualitative case study research was carried out in a school using teacher narratives. Data includes in-depth face-to-face interviews and participant observation. The findings show that teachers perceive that design thinking holds the potential for enhancing skills such as creativity, problem solving, communication and team work as well as empower students to develop empathy for others within and beyond the community. The research also highlighted several challenges such as inadequate resources, time constraints, fear of poor grades and the difficulty of shifting to a new way of teaching and learning that differs vastly from the traditional approach. The findings reveal that a piecemeal approach towards curriculum redesign for adopting design thinking may not provide the desired outcomes.  相似文献   

9.
Expert designers determine what problem needs to be solved by creating a frame that allows the identification of potential solutions. However, it is unclear how students learn to generate these frames effectively, particularly in relation to ethical decision‐making and selecting appropriate constraints. In this study, undergraduate and graduate industrial design students at a large Midwestern United States university participated in a one‐day workshop that focused on designing products for natives of sub‐Saharan Africa to sell in their home nations. Participants (n=100) worked in 21 teams to generate a range of constraints and problem statements while being scaffolded by instructions, research materials and worksheets. Teams struggled to identify specific use contexts and users, even though these elements were present in relatively complex form in provided research materials. Students appeared to build distance between their own experiences and that of users they were designing for, leading to little awareness of the ethical and normative commitments that were reified in their problem statements and solutions. Implications for the explicit development of an ethically aware design character in design education are considered.  相似文献   

10.
创造性思维是艺术设计中处于核心地位的思维能力,它以发散性思维为主要特征,讲究科学理性和艺术感性的融合,并强调灵感和直觉的运用。在艺术设计教育中培养学生的创造性思维能力,要让学生突破思维定势,学会发散思维;了解创造性思维的过程,学会捕捉灵感,形成创意;要改进评价机制,营造富有竞争力的艺术设计教学氛围来激励和启发学生的创造能力。  相似文献   

11.
The profit‐driven tendency of interior design trends and styles today has developed in line with the decrease of social awareness in design. The majority of interior design students also decide to pursue interior design education for its marketable and profitable purposes rather than seeing interior design as a field of opportunity to contribute to the social welfare of their communities. Hence, the objective of this research is to implement community service through co‐design in interior design pedagogy. The article describes the learning and design methods used based on human‐centred design approaches of co‐design and analyses the resulting benefits from this approach. Findings reveal that the process of collective creativity and collaborative development with the community enables a direct experience of learning and fosters a deeper connection and understanding of users. They also promote novel multidisciplinary design innovations, accommodate the community's potentials in the society and stimulate a reflexive impact, allowing students to reflect on their future role as interior designers in bringing positive changes to their community against the profit‐driven tendency of contemporary designers today.  相似文献   

12.
Textbooks in applied mathematics often use graphs to explain the meaning of formulae, even though their benefit is still not fully explored. To test processes underlying this assumed multimedia effect we collected performance scores, eye movements, and think-aloud protocols from students solving problems in vector calculus with and without graphs. Results showed no overall multimedia effect, but instead an effect to confirm statements that were accompanied by graphs, irrespective of whether these statements were true or false. Eye movement and verbal data shed light on this surprising finding. Students looked proportionally less at the text and the problem statement when a graph was present. Moreover, they experienced more mental effort with the graph, as indicated by more silent pauses in thinking aloud. Hence, students actively processed the graphs. This, however, was not sufficient. Further analysis revealed that the more students looked at the statement, the better they performed. Thus, in the multimedia condition the graph drew students’ attention and cognitive capacities away from focusing on the statement. A good alternative strategy in the multimedia condition was to frequently look between graph and problem statement, and thus to integrate their information. In conclusion, graphs influence where students look and what they process, and may even mislead them into believing accompanying information. Thus, teachers and textbook designers should be very critical on when to use graphs and carefully consider how the graphs are integrated with other parts of the problem.  相似文献   

13.
ABSTRACT

As part of a 3-year longitudinal study, 136 sixth-grade students completed an engineering-based problem on earthquakes involving integrated STEM learning. Students employed engineering design processes and STEM disciplinary knowledge to plan, sketch, then construct a building designed to withstand earthquake damage, taking into account a number of constraints. On testing, students redesigned to build an improved structure. Using a framework of design processes, we report on the students' capabilities in planning, creating annotated sketches, and transforming these into 3D models. An understanding of core STEM concepts was apparent in their responses, including shape properties, stability, rigidity, balance, strength, and engineering techniques. Group problem solving involved moving iteratively between design phases, frequently revisiting problem scoping, being cognizant of the problem goal, boundaries and constraints, and appreciating design sketches as guiding constructions. Students were also observed to consider a number of problem components simultaneously, indicating their capabilities in handling the complexity of the task.  相似文献   

14.
The study that informs this article was undertaken to investigate the benefits and limitations of using pre-constructed,web-based, dynamic geometry sketches inactivities related to deductive proof at the secondary school level. Two distinct themes emerged from analysis of the results– first, the relationship between the activities and the development of geometric thinking skills, and second, the relationship between the design of the materials, and the exploration process. This article focuses on the latter. An analysis of the data showed that task question and sketch provision must work together to create an environment for exploration. It also indicated that explicit attention to visual interpretation and exploration using change is required in order for students to benefit fully from their experiences with pre-constructed dynamic geometry sketches. This article draws attention to the idea that pre-constructed dynamic sketches(whether web-based or not) and accompanying materials are central elements of the learning activity of which they are a part,and therefore, that decisions about their design have the potential to support or impede the development of exploration strategies and geometric thinking skills. An examination of student responses to particular questions in light of visual and dynamic geometry research suggests that through the materials we may be able to improve students' use of the mathematical investigation process in exploring pre-constructed dynamic geometry sketches. This revised version was published online in August 2006 with corrections to the Cover Date.  相似文献   

15.
This paper defines and discusses ‘mood boards’– those assemblages of images and, less frequently, objects, which are used to assist analysis, creativity and idea development in design activity. There is need for discussion since little published information currently exists to guide students and tutors. The paper proposes that mood boards can assist problem finding as well as problem solving. Primarily, mood boards provide a mechanism for students and practising designers to respond to perceptions about the brief, the problem as it emerges and the ideas as they develop. The construction of mood boards potentially stimulates the perception and interpretation of more ephemeral phenomena such as colour, texture, form, image and status. They are, like Debono's lateral thinking techniques, partly responses to an inner dialogue and partly provocation to become engaged in such a dialogue. Examples are drawn from recent work in the field of industrial design at Loughborough University.  相似文献   

16.
Virtual design studio (VDS) has been a part of the discourse of architectural pedagogy for the past two decades. VDS has been showcased as a potential educational tool in schools of architecture often in controlled, pre‐designed experiments. However, the global COVID‐19 pandemic has forced most schools to move their design studios into virtual space. This article aims to explore the potential advantages and shortcomings of VDS during the COVID‐19 quarantine from the perspective of students in a department of architecture. The study investigates three aspects of VDS namely, participating students’ evaluation of the virtual studio experience, the effectiveness of VDS in achieving the studio’s expected learning outcomes and the evaluation process for final design projects. Some 360 students from eight consecutive design studios participated in the study. The results indicate improvement in students’ ability to conduct independent research and in learning new computer‐aided design (CAD) software. Furthermore, the study finds VDS to be much more applicable for third‐ and fourth‐year students. The results also show a significant decline in background informal peer learning among students. Further studies are needed to address the implementation of a more immersive social experience in VDS.  相似文献   

17.
This article presents a discussion of research and theoretical perspectives on creativity and instructional design, offering a conceptual model of the connection between these two constructs that was originally proposed in the dissertation work of the first author (Clinton, Creativity and design: A study of the learning experience of instructional design and development graduate students, Unpublished doctoral dissertation, University of Georgia, Athens, 2007) and that we call the Design/Creativity Loops (DCL) model. Central to the model is a representation of the iterative, looping problem-solving cycle that can include established stages of creative thinking. As an instructional designer is routinely confronted with the next task or design problem in a project, these tasks or problems spawn iterative mental excursions that are opportunities for creative thinking. This article also explores ways that the design and development process can benefit from an emphasis on creativity and offers suggested directions for future research.  相似文献   

18.
The need for engineering design students to understand that creativity is an important part of their educational development and also for a sound basis for their future role in industry has been well established. This paper will discuss the foundations of engineering design within this context and highlight the problems confronting students who are required to make a creative input to a design problem and describe a view on how to implement ‘creativityrsquo; in teaching engineering design through the experiences learnt while undertaking an interdepartmental project. The motivation for this work has arisen from the need to improve a student's ability to think creatively and in the long term, to improve the design of future products. Experiences from teaching creativity within an interdepartmental project will be given.  相似文献   

19.
在现代社会生活中,灯饰作为室内设计中的重要组成部分,应体现出功能与艺术的完美结合,因此现代灯饰的设计对艺术设计专业的学生即未来的设计师来说,既面临广阔的设计空间,又面临更大的挑战。针对此问题,将教学过程中的几点体会与学生分享,希望能够以此激发和引导学生的设计创造能力。  相似文献   

20.
There is a resurgence of interest in the powerful concept of emotion in current educational policy and practice. This article calls for the recognition and conceptualisation of a triadic schema for theorising the location of emotion within a creative educational experience. The schema represents emotion within three domains within current practice: Person, Process and Product. The principal focus of the article is pupils aged 5‐16 and consideration is given to the application of the conceptualised schema within art and design education as represented by the national curriculum statement of importance. The central hypothesis of the work is that greater recognition of an emotional dimension within a triadic schema ‐ developing emotional capacity in students to engage in a creative process (person); stimulating emotional engagement through appropriate learning contexts (process) and facilitating the emotional interfacing with outcomes (product) ‐ will help conceptualise the powerful interrelationship between emotion, creativity and learning. Based upon an extensive synthesised literature review a schema, developed through abductive reasoning and grounded theory, ultimately conceptualises the overarching theme of emotion within a creative, learning and product‐orientated experience within the primary and secondary stages of England's education system.  相似文献   

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