Design education

‘Erm, that question... I think I probably would’ve just put something in the middle and sort of moved on to the next one, because I think it’s really unclear’: How art and design students understand and interpret the National Student Survey

by Susan Orr

This paper (co authored with Bernadette Blair and Mantz Yorke) explores the ways that art and design students interpret the NSS questions.

Since the introduction of the National Student Survey in 2005, it has been noted that the average satisfaction scores... more Since the introduction of the National Student Survey in 2005, it has been noted that the average satisfaction scores vary across different disciplines (see, for example, Vaughan and Yorke 2009, p.8). And for just as long, it has been noted that art and design graduates’ satisfaction is among the lowest scoring disciplines. As the influence and reach of the NSS has increased - most recently in its inclusion as a key component of the government’s Key Information Set initiative - the art and design community has become increasingly concerned to explain the satisfaction gap experienced by many students studying in this area.

The community’s response is well articulated in the title of a study that explores this issue: “’I can’t believe it’s not better’: The Paradox of NSS scores for Art & Design” (Vaughan and Yorke 2009). This study was commissioned by GLAD  to look at how art and design has experienced and responded to the NSS, especially in the two major areas of feedback and assessment and organisation and management. The report showed that institutions varied considerably in terms of the ratings students gave to NSS questions, implying that there had been differential success in addressing aspects of the student experience probed by the survey. What the report did not attempt to do was gain an understanding of the basis of the ratings given by students.

It was therefore a logical extension to ask how art and design students understand and interpret the questions in the National Student Survey, and GLAD and HEA commissioned the authors to carry out a small research project which takes a snapshot of how a small group of art and design students interpreted the NSS questions in 2011.

This report is an overview of this study, and it aims to help colleagues in art and design subjects to:

• understand why art and design subjects receive the NSS ratings that they do;
• illuminate and understand how art and design students interpret and understand this generic questionnaire; and
• provide further information to assist staff and students to prepare for the NSS.

The key aim of this study is not to explain the responses that students give in the NSS. Its focus is instead on seeking to understand the ways in which students understand the NSS questions.  As a result this is a qualitative interview-based study.

The NSS questionnaire comprises 22 questions, and before the interviews the researchers narrowed the focus of this study down to eight of these. The eight questions were selected because they were viewed as central to the survey (e.g. question 22), or because they were questions that are particularly interesting in relation to creative and studio-based pedagogy in art and design (e.g. question 1).

Estranged-Gaze Pedagogy: Probing Architectural Computing through Multiple Ways of Seeing

by Stanislav Roudavski

Cite as: Roudavski, Stanislav (2012). 'Estranged-Gaze Pedagogy: Probing Architectural Computing through Multiple Ways of Seeing', in Beyond Codes and Pixels: Proceedings of the 17th International Conference on Computer-Aided Architectural Design Research in Asia, ed. by Thomas Fischer, et al. (Chennai, India: CAADRIA), pp. 659–668

This paper discusses the challenges of teaching architectural design theory in a world transformed by the digital... more This paper discusses the challenges of teaching architectural design theory in a world transformed by the digital revolution. Design is changing in dramatic ways and architecture is changing with it but a well-defined body of knowledge that can serve as a foundation for digital architectural design has – as yet – not been established. Relevant concepts, methods and precedents originate in many fields that are typically well beyond the scope of reading suggested to (or encountered by) students of architecture. This material is highly dynamic, often contradictory and, typically, of varying quality. Presenting this developing body of knowledge to students is a difficult challenge. A suitable pedagogical approach ought to reflect the heterogeneous and volatile nature of the contemporary design discourse enabling critical analysis of existing design practices, evidenced defence of one’s own creative work and successful communication with many heterogeneous stakeholders.

Keywords: critical pedagogy; digital architectural design; architectural theory; architectural education.

Embodied Reasoning in Architectural Critique

by Jonas Ivarsson

Murphy, K. M., Ivarsson, J. & Lymer, G. Accepted for publication in Design Studies

In this paper we explore the use of analogical reasoning as means for identifying problems in architectural critique... more In this paper we explore the use of analogical reasoning as means for identifying problems in architectural critique interactions. We focus in particular on the conversational invocation of specific architectural references as comparative cases intended to expand, clarify, or challenge details in student presentations. These analogical comparisons are not merely asserted by critics, but are interactively achieved as multimodal forms of action that combine talk with other forms of embodied action. Moreover, taking into account the wider goal structures in which the comparisons are embedded, we argue that in the context of architectural education, reasoning through analogy is a key means for socializing students into certain aspects of professional architecture and testing the limits of architectural knowledge.

ENSINO DE PROJETO BIOCLIMÁTICO: O PAPEL DOS PROBLEMAS E RESTRIÇÕES NO PROCESSO CRIATIVO

by Doris Kowaltowski

Is it Still Valid to Teach Principles of Two- and Three-dimensional Design? A Documentation of Design Foundation Courses in European Design Universities

by Angela Blachnitzky

Published in Design Principles and Practices: An International Journal, Volume 5, Issue 6, pp.19-28. Article: Print (Spiral Bound). Article: Electronic (PDF File; 1.362MB).

This paper presents contemporary teaching positions based on interviews with design foundation teachers in Europe in... more This paper presents contemporary teaching positions based on interviews with design foundation teachers in Europe in the context of media- and interaction design, but also within communication- and industrial design. The study was carried out in 2010/11. The main question addressed was: Are design basics (that were taught at the Bauhaus and School of Ulm) such as elementary two- and three-dimensional basics, shape, colour and experimentation with materials still relevant for design education today? The vast majority of participants stated that they are relevant. However, not all of them found that it would still make sense to teach them in depth or in a classic way.

Learning uncomfortably

by Noemi Sadowska

Co-authored with Laffy, D.

Published in Slimani-Rolls, A. (2011) Border Crossing: Transnational Working Papers in Higher Education. Migration Letters & The London Publishers. Volume 2011, Number 1102 / 2011. pp. 15-24

This paper outlines a research process entwined with delivery of a final year elective module "Managing Strategic... more This paper outlines a research process entwined with delivery of a final year elective module "Managing Strategic Design". The research has been based on six roundtable discussions with a variety of participants from Design and Business communities. The module challenges these students to develop truly innovative business opportunities. The process of doing so is at times deeply uncomfortable but it is at these points that students' learning can be most productive. The iterative process of research and teaching have led us, the authors, to reflect on the value and positioning of design and strategic thinking in business education: the methodology behind our particular curriculum delivery drawing on cross disciplinary teaching and learning; the ability of students to learn from practice by experiencing 'zones of discomfort' and 'what if' scenarios. These reflections have altered the focus of the module, from provision of tools students need to know to understanding the learning journey and facilitating the acquisition of decision-making confidence in response to a complex challenge.

Examining the Physical to Visual Shift in Designed Objects

by Giovanni Innella

co-authored with Paul Rodgers, Nick Spencer and Erik Bohemia

This paper chronicles an investigation involving a group of design students from Northumbria University, School of... more This paper chronicles an investigation involving a group of design students from Northumbria University, School of Design. The investigation presented the opportunity to validate a framework that correlates the physical access of designed objects against the visual attention these objects gained through media including exhibitions. The outcome of this case study aims to better understand how the shift from physically to visually consumed designed objects impacts on industrial design students. Specifically the way they access and use design material for inspiration, learn about design and develop their ambitions to work as designers.

Analogia e abstração no ensino do projeto em arquitetura

by Doris Kowaltowski

O PROCESSO CRIATIVO: RELACIONANDO A TEORIA À PRÁTICA NO ENSINO DO PROJETO ARQUITETÔNICO

by Doris Kowaltowski

'Workshop of the World? Manufacturing the British Product'

by Deborah Sugg Ryan

in Christopher Breward & Ghislaine Wood (eds.) British Design from 1948: Innovation in the Modern Age, V&A publishing, 2012, ISBN: 9781851776740

This chapter considers how institutions, individuals and industries responded to new circumstances of manufacturing... more This chapter considers how institutions, individuals and industries responded to new circumstances of manufacturing the British product from the 1960s onwards. New forms of education for industrial design resulted in the emergence of the consultant designer and in design consultancies that worked in partnership with industry in Britain and abroad. As British manufacturing evolved within a changing world economy, a decline in R&D in some fields was matched by an equal (though less well-documented) investment in other areas. In the meantime, the tradition of the British inventor and design entrepreneur was far from dead. More hidden was the role of women, but here too female designers and consumers played important roles. Britain also became a workshop in innovation and creativity, set against the backdrop of Swinging London, developing new technologies and exporting design expertise.

Ecodesign integration in education: the utility of an existing multidisciplinary design methodology

by Jan Bergen

Integrated Design at National Visiting Panel Dinner

by Chris Brisbin

Article in PLACE: Architecture + design + placemaking South Australia magazine, November: 2011, 5.

Design Charrette A Vehicle for Consultation or Collaboration

by Nicola Dawn Smith

As a model of participation and creativity, the design charrette has huge potential for reshaping the engagement of... more As a model of participation and creativity, the design charrette has huge potential for reshaping the engagement of design professionals and the dynamic processes available to businesses and organisations seeking ongoing innovation. Design charrettes in their current form largely remain the preserve of design firms, used both for internal project analysis and synthesis of large volumes of complex information. Charrettes are most often used as a consultant tool for engaging the community in participatory workshops on potentially controversial developments.

Taking the format of charrette as developed in the field of planning and urban design, this paper will reflect on the enquiry by design process and explore the potential of stimulating innovation through drawing as a way of collaborating with stakeholders outside of the key design professions.

Development, facilitation and analysis of a student workshop explores abstracted principles of a design charrette and indicates possibilities for more open, inclusive and holistic engagement between design professionals as consultants and others as collaborators.

Teaching design thinking: Expanding horizons in design education

by Zaana Howard

Co-authored with Gavin Melles & Scott Thompson-Whiteside. Proceedings from 3rd World Conference on Learning, Teaching and Administration, 28-30 October 2011, Bahcesehir Univeristy, Istanbul, Turkey.

The term design thinking is increasingly used to mean the human-centred ‘open’ problem solving process decision makers... more The term design thinking is increasingly used to mean the human-centred ‘open’ problem solving process decision makers use to solve real world ‘wicked’ problems. Claims have been made that design thinking in this sense can radically improve not only product innovation but also decision making in other fields, such as management, public health, and organizations in general. Many design and management schools in North America and elsewhere now include course offerings in design thinking though little is known about how successful these are with students. The lack of such courses in Australia presents an opportunity to design a curriculum for design thinking, employing design thinking’s own practices. This paper describes the development of a design thinking course at Swinburne University taught simultaneously in Melbourne and Hong Kong. Following a pilot of the course in Semester 1, 2011 with 90 enrolled students across the two countries, we describe lessons learned to date and future course considerations as it is being taught in its second iteration.

Productivity Improvement by Using Social-Annotations about Design Intent in CAD Modelling Process

by Jorge Martin-Gutierrez

‘The Alphabets of Nature: Children, Books and Natural History in Scotland, 1750-1800’, Nuncius, 25 (2010), 1-22.

by Matthew Daniel Eddy

Author: Matthew Daniel Eddy.

This essay examines the kinds of textbooks that were used to teach natural knowledge to children in eighteenth-century... more This essay examines the kinds of textbooks that were used to teach natural knowledge to children in eighteenth-century Scotland. Following Roger Chartier’s belief that the forms and uses of print can be employed to categorise the content of texts, I focus on three groups of books that were used in specific settings: (1) homes, academies and parish schools; (2) social and professional settings where adolescents worked; (3) and high schools. I do not take these groupings to be definitive, but more as a preliminary categorisation. Along the way I treat various historiographic points relevant to the canon of Scottish pedagogy and I comment on some issues relevant to the instruction of girls. I conclude by calling for more studies that address how and where children’s books were used during the Enlightenment.

Best or Worst of the Two Worlds? Experiences in Long-Term University-Industry

by Rosan Chow

Shop Around: Design Theory for Design Education

by Rosan Chow

Selective Jamming: Digital Architectural Design in Foundation Courses

by Stanislav Roudavski

Cite as: Roudavski, Stanislav (2011). 'Selective Jamming: Digital Architectural Design in Foundation Courses', International Journal of Architectural Computing, 9, 4, pp. 437-461

This article considers how the concepts and practice of digital architectural design can influence early architectural... more This article considers how the concepts and practice of digital architectural design can influence early architectural education.The article approaches this topic through one example, the Virtual Environments course – a constituent of the Bachelor of Environments program at the University of Melbourne.The institutional remit of this course is to introduce first-year students to the roles of design representation. However, recently, the course developed to encompass these pragmatic educational aims and began to question canonical attitudes towards architectural education and practice.At the core of this course are the notions, methods and skills of digital architectural design, understood not as a stylistic option or as a novel paradigm, but as a catalyst for creativity, experimentation, critical thinking and the sustained growth of creative communities.

Sustainability in industrial design education: developing innovation through local techniques and more holistic constraints

by Gavin Melles

Journal of Design Strategies, (article in press) with      Melles, Gavin;  de Vere, Ian;  Bissett-Johnson, Kate;  Strachan, Mark