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1.
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   

2.
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   

3.
Maintaining students' privacy in higher education, an integral aspect of learning design and technology integration, is not only a matter of policy and law but also a matter of design ethics. Similar to faculty educators, learning designers in higher education play a vital role in maintaining students' privacy by designing learning experiences that rely on online technology integration. Like other professional designers, they need to care for the humans they design for by not producing designs that infringe on their privacy, thus, not causing harm. Recognizing that widely used instructional design models are silent on the topic and do not address ethical considerations such as privacy, we focus this paper on how design ethics can be leveraged by learning designers in higher education in a practical manner, illustrated through authentic examples. We highlight where the ethical responsibility of learning designers comes into the foreground when maintaining students' privacy and well-being, especially in online settings. We outline an existing ethical decision-making framework and show how learning designers can use it as a call to action to protect the students they design for, strengthening their ethical design capacity.

Practitioner notes

What is already known about this topic
  • Existing codes of ethical standards from well-known learning design organizations call upon learning designers to protect students' privacy without clear guidance on how to do so.
  • Design ethics within learning design is often discussed in abstract ways with principles that are difficult to apply.
  • Most, if not all, design models that learning design professionals have learned are either silent on design ethics and/or do not consider ethics as a valid dimension, thus, making design ethics mostly excluded from learning design graduate programs.
  • Practical means for engaging in ethical design practice are scarce in the field.
What this paper adds
  • A call for learning designers in higher education to maintain and protect students' privacy and well-being, strengthening their ethical design capacity.
  • A demonstration of how to use a practical ethical decision-making framework as a designerly tool in designing for learning to maintain and protect students' privacy and well-being.
  • Authentic examples—in the form of vignettes—of ethical dilemmas/issues that learning designers in higher education could face, focused on students' privacy.
  • Methods—using a practical ethical decision-making framework—for learning design professionals in higher education, grounded in the philosophy of designers as the guarantors of designs, to be employed to detect situations where students' privacy and best interests are at risk.
  • A demonstration of how learning designers could make stellar design decisions in service to the students they design for and not to the priorities of other design stakeholders.
Implications for practice and/or policy
  • Higher education programs/institutions that prepare/employ learning designers ought to treat the topics of the designer's responsibility and design ethics more explicitly and practically as one of the means to maintain and protect students' privacy, in addition to law and policies.
  • Learning designers in higher education ought to hold a powerful position in their professional practice to maintain and protect students' privacy and well-being, as an important aspect of their ethical design responsibilities.
  • Learning designers in higher education ought to adopt a design thinking mindset in order to protect students' privacy by (1) challenging ideas and assumptions regarding technology integration in general and (2) detecting what is known in User Experience (UX) design as “dark patterns” in online course design.
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4.
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   

5.
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   

6.
Learning in today's classrooms can be disconnected from students' real world experiences. Providing students the opportunity to address real‐world problems may provide avenues for students to engage in their communities while developing academic skills and knowledge. Additionally, for students whose interests are piqued by the nature of their community's problems, these activities have the potential to offer students meaningful, motivating work in a supportive environment. This article explores how providing students with interest‐based service‐learning opportunities may help them develop and demonstrate gifted behaviors. In addition, methods for integrating student interests and service‐learning projects are presented. © 2012 Wiley Periodicals, Inc.  相似文献   

7.
后现代主义设计以解构和挪移为主要表现手法,在各设计领域中广泛应用,在后期演化过程中,其与原有的思想出现了偏差,“求形式”遮蔽“守功能”,“解构高雅”凌驾“坚守德性”,“时尚消费”消解“物尽其用”,“以人为本”取代“天人合一”。针对这些问题,提出设计教育应该时刻反思设计伦理的定位,关注精神、人文以及社会考量,通过匠心精神的培养,人文素养的提高以及设计共同体的构建形成“设计至善”的设计伦理观,从设计教育的层面来实现社会责任感和设计伦理自律。  相似文献   

8.
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   

9.
As the new generation of designers face more complex design issues, the forms of design research start to shift towards a user‐centred approach to problem‐solving. The cooperation and communication among various fields and specialisations are becoming more complex; in many practical design cases, in particular, technology developers face challenges in deciphering the creative ideas of designers and the needs and restraints of users, society, law and science. The emergence of integrative design based on a wide range of disciplines has prompted discussion and exploration among various participants. The direction of contemporary design research has already transformed from one based on production of artefact to one focused on the integration of varied knowledge and fields at different stages. We examine such design research based on a problem‐driven approach in two case studies characterised by interdisciplinary collaboration for solving complex problems. We focus on the transformation and implementation of integrative design research methods and suggest a ‘reflection‐in‐action’ problem‐solving process for strengthening the capabilities of multidisciplinary design research.  相似文献   

10.
Professional training for designers is crucial in the field of design studies. The characteristics of novices versus those of expert designers have been identified in the literature; however, studies exploring the issue of professional training processes in the actual workplace are not well developed. Our study addresses the topic by using qualitative research methods along with flexible design. Collected data from the interviewees with different work experience were analysed by open, axial and selective coding. Herein, we argue that the processes by which a designer transforms from a novice into an expert in the industry are constructed through the interaction of several complicated factors. The re‐learning inherent in design professions is implemented through knowledge transfer gained from participation in design projects, particularly regarding tacit knowledge. Also, the novice's process of learning and training yields the characteristics and skills that companies and firms require of designers; this process involves a series of disciplinary sub‐processes, from destructive to reconstructive, implemented by employers. In these sub‐processes, the subjectivity of designers is neglected, leading to the suppression of imaginative expression and feelings of alienation among these workers.  相似文献   

11.
Research into the effects of large classes demonstrates that students are disadvantaged in terms of higher order learning because interactions between teachers and students occur at lower cognitive levels. This has significance for social work education, with its emphasis on the development of critical thinking and problem solving, both higher order cognitive skills. This paper reports on quantitative and qualitative research that explored social work students’ perceptions of different teaching and learning strategies in a large mental health course designed with reference to principles of student‐centred learning and constructive alignment. Findings revealed that well‐integrated design, relevance to the real world and teacher enthusiasm were seen as most useful by students, rather than particular learning strategies per se. Higher satisfaction ratings and grades were also associated with this student‐centred course compared with an earlier traditional lecture‐style course. The paper concludes that design based on the interplay between diverse learning activities, including lecture input, strengthened the student‐centred orientation of learning and recommends further research that compares learning outcomes associated with these contrasting approaches to professional education.  相似文献   

12.
In recent years, digital fabrication, and especially its associated activities of 3D design and printing, have taken root in school education as curriculum‐based and maker‐oriented learning activities. This article explores the adoption of 3D design and printing for learning by fourth, fifth and sixth grade children (n=64) in multidisciplinary learning modules in elementary school education. School‐coordinated 3D projects were not led by design experts, such as art and design teachers, designers, researchers or technical specialists, but run ‘in the wild’ by school teachers. The study was conducted by using an ethnographic research design, including field observations, non‐formal interviews and a reflective questionnaire. The results indicate that, in the adoption of 3D printing activities, learning is centred on the technical skills and the usage of 3D tools. Hence, the elementary ABCs of 3D printing do not achieve the full design and creativity potential of digital fabrication that earlier research has suggested. However, the results do have implications for the potential of 3D printing projects to increase children’s empowerment. In their current state, 3D design and printing are some of the learning tools, among others, and similar achievements can be achieved with other hands‐on learning technologies. In order to enhance the learning of creativity and design thinking skills, 3D activities in school should be planned accordingly.  相似文献   

13.
Graduate social work students often are required to complete an evaluation or research project. Research instructors work with their students to assure that these projects are rigorous as well as ethical. This study focuses upon the relationship of student projects and the Institutional Review Board (IRB). The IRB aims to strengthen research ethics and to assure that study participants are not exploited. Sixteen MSW research instructors' shared their experiences guiding students through the IRB. Study participants identified benefits and challenges of having students experience the IRB, as well as recommendations on how to facilitate the review process. Additionally participants reflected upon how they determine IRB review requirements.  相似文献   

14.
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15.
The features of collaboration in design education include effective and efficient communication and reflection, and feasible manipulation of design objects. For collaborative design, information and communication technology offers educators the possibility to change design pedagogy. However, there is a paucity of literature on relative advantages and disadvantages of online collaboration for real‐time manipulation of design objects and prototypes, particularly in web design education. Using survey instrumentations, this study investigated online collaborative design practices with an application by measuring experiences of communication and interaction among twelve designers who are enrolled in a Master's programme in interactive design. The study identified barriers to online collaboration design: (1) real‐time manipulation of design objects and prototypes may increase complexity of communication interaction; (2) records of communication and invisibility of team members may attenuate quality and frequency of critical feedback to each other; (3) students’ attitudes towards collaboration, individual students’ learning goals, and completing tasks in a timely manner could reduce their engagement and increase their reliance on teacher intervention.  相似文献   

16.
This article reports on an academic–industrial cooperation between students at the Ulsan National Institute of Science and Technology and a local foundation working to revitalise the Eonyang traditional market in Ulsan, South Korea. Students majoring in disciplines ranging from natural and applied sciences to business administration were introduced to design thinking, the double diamond model, and sense‐making as frameworks for generating creative outcomes. Those outcomes included media, signage and packaging, a display stand, an accessory for hikers, an artistic reinterpretation of the traditional store shutter, the design for a guesthouse and new packaging for locally produced products. Students presented their ideas at a public exhibition as team projects that involved 3D printing, CAD, Web‐design, graphic design and motion‐picture editing tools. The study reveals that students learn more effectively when pedagogy emphasises active learning and on‐site observation through design‐based integrated education. Its qualitative research involved interviews in which students experienced how design thinking methodology can transform a local economy. The methods reveal a new educational model centred upon creative and applied learning.  相似文献   

17.
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   

18.
Although students in Introductory Information Systems courses are taught new technology concepts, the complexity and constantly changing nature of these technologies makes it challenging to deliver the concepts effectively. Aiming to improve students’ learning experiences, this research utilized the five phases of design science methodology to develop an experiment to solve a real‐world problem, and then implemented it in an undergraduate classroom. As part of their classwork, students participated as subjects testing new information technologies to solve a real‐world problem. They were asked to complete a questionnaire and answer questions in a focus group to assess the effectiveness of the technologies tested and determine whether the experience had added to the learning they gained from the course. The results revealed that the students were able to use the new technologies effectively and provide useful feedback to the company sponsoring the study, contributing to the release of a new commercial product line. Students also reported that participating in this research project improved their satisfaction with the introductory MIS course. These results encourage educators to conduct hands‐on experience involving real‐world research projects since they provide valuable additional learning opportunities in introductory MIS courses.  相似文献   

19.
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   

20.
Combinations of Conventional Studio and Virtual Design Studio (VDS) have created valuable learning environments that take advantage of different instruments of communication and interaction. However, past experiences have reported limitations in regards to student engagement and motivation, especially when the studio projects encourage abstraction or are detached from context or reality. This study proposes a hybrid approach that overcomes these limitations by blending conventional studio, VDS and live projects. This blend aims to foster opportunities from within a real design situation, while promoting different levels of motivation and engagement. Two case studies comprising academic projects between the University of Los Andes, Colombia and the University of Nottingham, UK were used to validate the approach. In these, students interacted with peers, teachers, people from industry and the community to build 1:1 scale projects, with budgets and timeframe constraints. The study proved that students could successfully work collaboratively and build confidence in their own abilities when placed in a real setting, which enabled interactions face‐to‐face and at a distance to solve a challenge and achieve a common goal. The article reports on lessons learnt from these collaborative learning experiences, which reflect on contemporary cross‐cultural design practiced today.  相似文献   

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