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1.
The field of fashion design relies on the originality of fashion designers and information on design trends, and design education also focuses on the creative ideas of designers; in this field, design through co‐design is a very limited area. However, with the proliferation of participatory culture, the need to diversify fashion design education methods has also emerged. The purpose of this study is to present an educational framework and an instructional strategy for co‐design based on the changing role of the designer and to obtain educational insight through the implementation of an actual education prototype. To do this, we developed an educational prototype and implemented it with six undergraduate students. Through this study, the participants engaged in the process of design development with the consumer and analysed the instructional insight. As a result, this study redefines the roles and design methods of designers for co‐design and identifies creativity characteristics through the co‐design process. The results of this study can be used as basic data for co‐design education and can contribute to the expansion of fashion design educational methods.  相似文献   

2.
Many images of the ‘artist’ or ‘designer’ pervade the media and popular consciousness. Contemporary images of the artist and creativity that focus solely on the individual offer a very narrow depiction of the varying ways creativity occurs for artists and designers. These images do not capture the variety of creative processes and myriad ways artists and designers work. Young creatives in particular are choosing to work with a social approach to creativity. An example of this approach is the world of blogging, a form of social media where young creatives have a very active voice. This article explores how creative bloggers, that is, artists, designers and makers who blog about their practice, use a social approach to foster creativity with a sense of community, environmental and ethical awareness, a value framework that is in opposition to the market‐driven notion of liberal individualism. Is there a way to include participation in the broader art and design blogging world as part of art and design education? What can we learn from such a social approach to learning in higher education art and design programmes? This article explores these questions and shares findings of an ethnographic approach to an analysis of art and design blogs. In doing so it argues for a socially‐wise approach to creativity in art and design education as a means of promoting values other than those usually connected to the market.  相似文献   

3.
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   

4.
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   

5.
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   

6.
ABSTRACT

This article reports on an intervention study into the effects of a training in the use of social and cognitive strategies on the learning outcomes of students in secondary mathematics education. Special attention is given to differential effects for high‐ and low‐achieving students. The focus on differential effects is derived from studies into learning in small co‐operative groups, and from the results of meta‐analyses into the effects of training in learning strategies. From these studies it can be concluded that in general such programs contribute to learning. However, it seems that low‐achieving students are unable to benefit from interventions of the kind investigated (i.e., co‐operative learning and training in learning strategies). The main question is whether it is possible to design an instructional program from which all students benefit, and from which the low‐achieving students profit more than their counterparts in the control‐program. In the present study three instructional programs for co‐operative learning were compared: (i) an experimental program with special instruction in the use of social strategies; (ii) an experimental program with special instruction in the use of cognitive strategies; and (iii) a control program without training in either cognitive or social strategies. The programs were identical with respect to mathematical content and general instructional settings (a combination of whole‐class instruction, working in co‐operative groups and individual work). The experiment addressed the following research question: what are the general and differential effects of a training in the use of social and cognitive strategies on the results of learning in secondary mathematics? The research was conducted in two schools for secondary education in a total of 21 classes, involving a total of 511 students. The design was a pretest‐posttest control group design, using two experimental groups and one control group. The data were analysed from a multi‐level perspective. The outcomes of the investigation clearly show the effects of the intervention. Teaching cognitive and social strategies has the expected, positive effects. In addition to this main effect, a compensatory effect for the low‐achieving students was found. The low‐achieving students in the experimental conditions outperformed their counterparts in the control group.

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7.
Student‐led design projects undertaken within healthcare settings raise considerable ethical challenges, primarily resulting from collaboration with service users. This article emerged out of the experiences of design from a New Zealand university undertaking real world projects in acute health care contexts. A human‐centred approach to design is underpinned by a requirement for students to immerse themselves in the user context to optimise design outcomes. Several issues exist in relation to the management of the ethical complexities arising from these projects. Multiple formal ethical review processes were triggered when students’ projects were defined as research. These processes were perceived as onerous and disproportionate to the scale of the projects, and students were ill equipped to identify ethical issues and engage with formal review processes. This resulted in either abandoned projects or the use of compromised methods. A review of codes of practice and design industry approaches identifies a gap in guidance for both students and qualified designers. Some designers describe their projects as service improvement, and not subject to formal ethical review. This article argues for embedding consideration of ethics in all design projects to enhance the process, to be true to the underpinning philosophy of human centred design and to produce ethically aware graduates. To achieve this, a multi‐pronged pedagogical approach which encompasses both hypothetical, class‐based and real‐world learning experiences is described, with the ultimate goal of normalising the consideration and development of ethical standards for students and best practice across the industry.  相似文献   

8.
Increasingly designers from an array of different disciplinary backgrounds work in international and community development, yet design education rarely prepares them for the challenges and roles in this context. The article reflects on issues of power and representation during design research in The Gambia by adapting reflexivity and positionality which are key concepts established in development studies. Reflections are based on research carried out in The Gambia since 2010 which is comprised of phases of immersion, mapping and co‐design. They provide in‐depth insights currently lacking in design literature that demonstrate the value of reflexivity and positionality to iterate roles and methods in community‐based design. Whilst not suggesting particular teaching methods, the article proposes the integration of these concepts into existing structures to better prepare students for increasingly common futures in the workplace. Broader themes that emerge and can be adapted to different design contexts include building trust, entanglement in power dynamics between different actors, personal vulnerability, as well as the need to challenge problems as starting points for design interventions.  相似文献   

9.
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   

10.
The rapid and ongoing development of digital technologies continues to create new opportunities for education. Over the last decade this has enabled the establishment of blended learning approaches and online education. More recently, Augmented Reality (AR) has emerged as a unique technology that can transform learning experiences across diverse disciplines. This article outlines the development of an AR prototype, Master of Time, which was created to educate first year students and non‐designers on the foundational principles of landscape architecture. This study examines the learning potential and benefits of AR technology with a focus on creating new practices in digital storytelling across situated experiences. In outlining project outcomes, the authors propose a series of critical design principles, strategies and methodologies for educators to apply when developing AR learning experiences across disciplines. Included within this is a framework for transdisciplinary and co‐design collaboration, which is essential for educators working in the forefront of learning technologies.  相似文献   

11.
This article introduces playful learning as part of the decolonising project at institutes of higher learning in South Africa with specific reference to the discipline of communication design. Not only does the article interrogate the content of design education, specifically design for development, but more specifically the way that design for social innovation is taught. The article begins with a contextualisation of the decolonisation debate both locally and internationally, which is followed by a brief historical overview of formal design education. Design education’s trajectory informs the contemporary conception of design as a form of rhetoric. Design and play are then interfaced theoretically, and pragmatically through a case study to explore how deeper learning was made possible by play in a curriculum‐based project. Ultimately, the article aims to highlight the value of playful learning in design higher education to nurture alternate modes of design thinking that favour localised practice, intersubjective relationships between designers and their stakeholders and the enabling of students’ self‐realisation through real world experience.  相似文献   

12.
Urgent societal challenges have led to unease in our socio‐cultural interactions and the production systems that underpin our lives. To confront such challenges, collaboration stands out as an essential approach in accomplishing joint goals and producing new knowledge. It calls for interdisciplinary methodologies such as co‐design, an approach capable of bridging multiple expertise. The core activities of co‐design are based on the premise of collaboration and on developing creative social environments. Yet achieving collaboration through co‐design is challenging as people need to understand each other, and develop trust and rapport. We argue that ‘informal‐mutual learning’ is central to building mutual understanding. This article explores how we create spaces for collaboration through co‐design by examining the social environments supporting them. It examines the value of collaboration and its impact upon participants within an action research project conducted in Scotland. We identified Cultural‐Historical Activity Theory (CHAT) as a suitable theoretical framework. It offers support for holistic inquiry into participation and learning. Its strength was in the attention that it pays to multi‐dimensional human interactions within the social environment. This led to an understanding of the concepts of boundary‐crossing and boundary space examined through a CHAT lens. The findings shed light on four designerly conditions supporting informal‐mutual learning when engaged in collaboration during co‐design situations: choreography and orchestration, aesthetics, playfulness, and quality and quantity of participation. The findings enable us to elaborate on the theorisation of boundary space, a theoretical space for the assemblage of multiple levels of expertise to achieve collaboration.  相似文献   

13.
In architectural design education, the most significant part in the curriculum is the design studio, where students learn how to design. Critique has a crucial role in the design studio, and in determining the best and most beneficial critique type for the architectural design education process. Student attitudes toward critiques and student satisfaction level with each critique technique are also significant. To that end, this article explores design studio learning by reviewing the design learning process and types of design critiques. Focusing on three critique techniques used in design education (desk critiques, pin‐up critiques and group critiques), the article analyses correlations between student attitudes toward each technique and its contribution to the design process. Research was conducted with 84 third‐year interior architecture students from the 2014–15 Fall semester at a university. No statistically significant differences were found between group and pin‐up critiques in terms of students’ preferences and their final performance scores; however, there was a statistically significant relationship between student preferences toward desk critiques and student success. Furthermore, the contribution of a critique technique to the design process was found to be highly correlated with student preference for this technique.  相似文献   

14.
An Amplified Mindset of Design (AMD) has emerged from recent research on emerging design practices, as designers are once again re‐inventing their identity to include an adaptability to uncertainty and paradox. However, this is not yet visible in what design education offers. As designers intervene in complex contexts and embrace participatory, collaborative and interdisciplinary practices informed by strong ethical and sustainability concerns, design education must adjust and expand its scope to include, for example, collaboration, cross‐cultural and interdisciplinary skills, and a way of being in the world through design. In this article, I argue for the formal introduction and exploration of social complexity in design education to assist the development of an AMD in design students. Boundaries, dependence on context, edge of chaos, emergence and organisation were identified as key qualities of complex systems to introduce to students. Embodiment and visualisation techniques were used as the most appropriate vehicles for such an endeavour. In this article, I discuss the results of a qualitative research informed by action research in which I explore ways of teaching complexity to design students. The inquiry was driven by the following core research question: How can complexity can be taught in design education using visual and embodiment methods to encourage the development of an Amplified Mindset of Design?  相似文献   

15.
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   

16.
This article discusses the idea of otherness in design education and introduces a new approach that merges the potentials of collaborative and individual design. The aim is for each individual student to discover how others design to criticise and derive their own ways of designing. Therefore, the discussion here focuses on the process of becoming aware of other designers and the importance of being with others while designing. I call this state the Field of Otherness. It is something that cannot be described or taught; it is a relative and indeterminate zone based on the existence of others. It is a set of potentials in which designers oscillate and their design aspects merge into a multiplicity. In this article I argue that by discovering others, designers encounter each other in the Field of Otherness and this enables them to design diversely. To broaden the discussion within this context, an experimental one‐day project called the Factory is explored. The main idea of the project was to introduce students to the Field of Otherness, in which they would design by continual ‘as ifs’ and oscillations to meet the other; who is precisely unfamiliar, unexpected, unknown and inexperienced. Interviews with students three months after the project are used to investigate the effects. These interviews can also be seen as fragments of the otherness experience of the students.  相似文献   

17.
Learning to be an artist or designer is a complex process of becoming. Much of the early phase of ‘learning to be’ occurs during the time emerging artists and designers are students in university art/design programmes, both undergraduate and postgraduate. Recent research reveals that a critical role in assisting students in their maturing identities as artists and designers is played by artist/designer‐academics teaching in university art and design programmes. By maintaining active art/design practices and drawing from these in their teaching, artist/designer‐academics model professional practice to students. Witnessing and interacting with such modelling is part of the process of students learning the shared discourses, views and practices of the art or design worlds to which they aspire to belong. The modelling of professional practice is critical to an artist or designer's ‘learning to be’ experience because it enables students to access the tacit and nuanced behaviours, languages and cultures that constitute contemporary art or design practice. This article outlines findings from a recent Australian study revealing the role of professional practice modelling in university art/design teaching. It highlights the centrality of professional practice modelling to artist/designer‐academics in their beliefs and approaches to teaching their academic disciplines. In critically exploring the research data and findings this article describes the role that modelling of practice plays and how it comprises a core part of the value that artist/designer‐academic participants contribute to the teaching of art/design education.  相似文献   

18.
An undergraduate social work program developed a service‐learning experience in partnership with a local United Way organization to complete a community needs assessment project. The experience integrated the curricula of a social work research methods course and a generalist‐macro practice course with the principles and actions of experiential and service‐ learning, evidence based practice, and civic responsibility. This integrated curricula project yielded practical, “real world” outcomes for the local community and learning outcomes for the students. Needs assessments conducted by social students resulted in particular groups of community citizens receiving targeted services from agencies receiving funding from United Way. Evidence obtained from the students who participated in this experience indicates that two important learning outcomes were achieved; a heightened awareness of the local community's resource system and a sense of connection to the local community, along with the enhancement of students ‘self‐esteem and increased self‐confidence in their abilities.  相似文献   

19.
The role of learner autonomy and self‐regulated learning in distance education has received much attention. The application of these concepts impacts course design and, potentially, learner achievement. In the case of distance language learning, course designers must consider not only how to help learners gain communicative competence but also language learner strategies that support success. Although the concepts of autonomy and self‐regulated learning share some similarities, they have been variously defined and applied to distance education. Current research and discussion has not synthesized the ways in which these factors can be more fully utilized to improve distance education. Based on a critical review and synthesis of the literature on autonomy and self‐regulation, this article contributes a new model for distance language learning. The model provides guidance for course designers and assists instructors in supporting their students.  相似文献   

20.
The aim of this article is to direct the social design debate to constructivist approaches to design education in the Global South. This article provides insight into the process of participatory user‐centred design involving Ecuadorian third year graphic design students and cocoa cultivators of limited resources in Ecuador. The students and cacaoteros become codesigners of a brand identity for the farmers’ association by means of an extensive review of literature on cocoa cultivation and commercialisation in Latin America, in‐depth interviews with community members on the traditional farming practices of cocoa growing communities in Northern Ecuador and the data collected from the students’ participation in and observation of the lifestyle within the community. This article illustrates the ‘wicked’ problems faced by these design students and the relevance of their experience to the study of social design practices and design education in developing countries.  相似文献   

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