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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   

3.
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   

4.
In this article, I describe and explore Design Domain, a large‐cohort course for which I am academic coordinator and which is enacted across six design programmes at the Glasgow School of Art (GSA). I unpack Design Domain’s context and intentionality as a ‘created space’, where student learners are exposed to different ways of thinking, making and doing, with an emphasis on working within discipline but pushing boundaries beyond the discipline. Next, I evaluate Design Domain as a ‘creative space’, unpacking its lineaments and evaluating its positives and challenges. Then, I set out initial reflections on the taxonomy of disciplinarities, arguing that these can be usefully reappraised when applied to a pedagogical framework like Design Domain, which blends predominantly individual learning with particular and specific points of collective commonality of purpose and action. Finally, I describe how I will go onto develop my understanding via an action research informed evaluation of a recent Design Domain project in Communication Design, where students of graphic design, photography and illustration worked together. I frame the type of critical questions I might ask of staff and student respondents in an action research informed evaluation study, and I offer a preliminary conclusion: that it is more appropriate to focus on ways of thinking than prescribing ways of doing, and that this might bring practice and process into a more adaptive theoretical framework.  相似文献   

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Collaboration through innovation is central to the discussion of how today's universities can respond to new interdisciplinary challenges, competitive environments and stakeholder complexity. Innovation hubs represent a dynamic example of how the public sector, including higher education, is responding to the need for new methods and perspectives that foster desired intra‐institutional change. This study examines one of these types of platforms, the Design Factory Global Network originating at Aalto University, in order to shed light on key enablers and barriers to furthering collaborative efforts within higher education. Based on 25 in‐depth interviews with 17 Design Factories, including perspectives from students, staff and educators, the findings show that institutional policy fostering flexibility, securing a physical cross‐disciplinary and multi‐purpose collaborative space, upper level support and building community are all vital in ensuring design‐driven experimentation that contributes to the effectiveness of higher education.  相似文献   

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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   

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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   

8.

Recent reforms in science education have supported the inclusion of engineering and their practices in K-12 curricula. To this end, many classrooms have incorporated engineering units that include design challenges. Design is an integral part of engineering and can help students think in creative and interdisciplinary ways. In this study, we examined students’ conceptions of design during and after participation in a design-based science curriculum unit. Our study was guided by the following research question: What are students’ views of design after participation in an engineering design-based science curriculum unit and how are these views reflected in their enactment throughout the unit? Using a qualitative approach, we examined students’ conversations throughout the enactment of the curriculum and interviews conducted after the completion of the unit. We found that students had complex and diverse views of design, and these views were reflected in their group discussions throughout the curriculum and design challenge. Students most frequently expressed design as learning and as a process of integration into a coherent whole. These aspects of design were also frequently observed in students’ conversations during the unit. Interestingly, we found evidence of students demonstrating several aspects of design throughout the curriculum that were not explicitly expressed during the student interviews. Taken together, these findings support the complex nature of design as seen at the middle school level.

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The development of educational applications has always been a challenging and complex issue, mainly because of the complications imposed by the cognitive and psychological aspects of student–computer interactions. This article presents a methodology, named We!Design, that tries to encounter the complexity of educational applications development from within the participatory design framework. The methodology enables computer literate students and designers to cooperate in the design of applications that (1) enhance typical educational processes for which students have extensive experience in, such as note taking or assessment, and (2) are well‐suited to the technological, social and cultural particularities of each educational environment. The methodology can be easily applied in real educational contexts and consists of two phases. During the first phase, students participate in short‐duration design sessions where they formulate needs, tasks and interface prototypes for the educational application under examination. In the second phase, the designers systematically analyse and then integrate student suggestions. In order to evaluate the methodology, it was applied in the design of two educational applications: an electronic assessment environment and a course website. A total of 86 undergraduate informatics students participated in 22 4‐hour design sessions. The methodology was evaluated by collecting students' responses through questionnaires and by introspection on the video recordings of the design sessions. The design sessions proved to be a very intriguing experience for the students while the methodology's products managed to respond to their personal needs and expectations in an efficient and effective way.  相似文献   

10.
This article is an interdisciplinary reflective response to an intensive studio learning and teaching experience involving artists, academics and postgraduate students. The authors of this article teach, research and practise in coding, digital design, dance, and virtual and live performance. As lecturers and students we reflect upon and propose future approaches to art practice in tertiary education informed by live performance, performance capture and studio‐based responses to digital and virtual platforms. We reflect on an innovative contribution to the field of research–teaching nexus as informed by digital and virtual data capture identifying the key element of immediacy in live performance and choreographic improvisation with systems. We reflect on practice‐based inquiry via the Choreographic Coding Lab (CCL) model – a dialogical negotiation between capture technology and interdisciplinary artists in industry and academia. How can we encourage potential studio inquiry as an adapted model in tertiary learning and teaching? Our interdisciplinary voices, presented as authors’ reflections, provide suggestions for future studio‐based, active learning contexts.  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.
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   

13.
学习现象的复杂性和学习研究的跨学科性决定了设计研究的多重性,其研究的理论宽度可以扩展到发展心理学、认知科学、文化心理学和文化人类学等多学科的宽广视域并可在多理论间穿行整合,因而建立单一模式来描述设计研究是不明智的。学习科学所进行的设计研究其核心目标在于跨越模式界限,促进持续的教育革新,最终走向多领域协同一致的学习研究,实现对学习在理论与实践上的更富生力的理解与革新。  相似文献   

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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   

16.
This conceptual article explores teaching as design work, arguing that a critical thing teachers do is design systems that enable their students to learn. Designing occurs when teachers generate new learning activities or modify curricular programs to create coherence for themselves and their students. Nonetheless, few teacher education programs include instruction in learning how to engage in design thinking. Here, designing is explored as a means to help pre-service teachers develop their facility for adaptive teaching practice by incorporating design thinking at an early stage in their teacher education programs. Literature is drawn from traditional design fields to articulate design capacities and to describe design studio pedagogy practices often used in the education of designers. As an illustrative example is presented of such practices were incorporated throughout one 15-week educational psychology course embedded in an undergraduate elementary-education program to support pre-service teachers development of design thinking. The goal was not to prepare students to use particular instructional innovations, but to collaboratively design such innovations themselves.  相似文献   

17.
During 1991 BTEC (the Business & Technology Education Council) researched into how far design programmes in colleges in North East and North West England were meeting employer needs. The research involved gathering information from colleges in the regions, and from employers. A selected sample of employers were consulted and their perceptions of design education and training matched against the range of provision available. At the same time employers were asked to comment on how they used design within their organisations and from where they recruited designers. Set against a background of economic recession, the research gave rise to some interesting findings. In particular, it highlighted the move toward more broad-based and multi-disciplinary provision in some colleges as a response to employer demand for designers who were flexible and adaptable. Transferability was seen as important by both colleges and employers for fighting recession. Design courses that had originally been set up to answer specific industry needs were now having to adopt a wider remit to place students in employment.  相似文献   

18.
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   

19.
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   

20.
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   

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