Revealing Insights From Professional Design Documentation

2014 ◽  
Author(s):  
Sophoria N. Westmoreland ◽  
Linda C. Schmidt
Keyword(s):  
Design Process ◽  
Design Education ◽  
Design Thinking ◽  
Design Data ◽  
Data Set ◽  
Coding Scheme ◽  
Design Documentation ◽  
Design Activities ◽  
Comparative Results

In this work, the researchers explore how a professional engineering designer documents thoughts during the design process. This research will increase understanding of design thinking, improve the effectiveness of the design profession, and create tools for design education. Analyzing professional design behavior is traditionally done using timed design activities that are audio and video recorded to collect design data. The methodology used here is to analyze a set of handwritten design journals used for one long-term project. A comprehensive cognitive coding scheme is applied that has been verified by applying it to the data set and refined through iteration. The coding scheme has also been validated by producing comparative results to similar design studies found in the literature such as Atman, Suwa, and Jain. The results found that the professional was very detailed, spent a considerable amount of time on project management and that students are recording in the design journal for different reasons and at different times during the design process than the professional.

scholarly journals USE INTERACTIVE MEDIA TO ENHANCE CREATIVITY OF DESIGNERS BY STIMULATING THE SENSES IN THE CONTEXT OF ART DESIGN EDUCATION

2021 ◽  
Vol 1 ◽  
pp. 3319-3328
Author(s):  
Xiaoxiao Liu ◽  
Yukari Nagai ◽  
Kumi Yabuuchi ◽  
Xiuxia Cui
Keyword(s):  
Design Education ◽  
Design Thinking ◽  
Interactive Media ◽  
Media Technology ◽  
Education Environment ◽  
The Senses ◽  
Art Design ◽  
To Receive ◽  
Core Issues

AbstractCreativity is very important for designers, and methods to stimulate designers' creativity are the long-term focus of art design education. The senses are an important channel for designers to receive information and define core issues. Stimulating the designer's senses can help enhance their perception and creativity, and is of great benefit for the quality and efficiency of the design outcome. Today's interactive media technology provides more possibilities and advantages for designers' perception and sensation. The purpose of this research is to explore a way to stimulate the designer's senses through the use of interactive media, thereby improving the designer's design thinking and creativity, and providing designers with innovative design support. By means of interactive ground projection and experiments, and discussion of the advantages of interactive media to stimulate designers' senses, this research proposes innovations in art design educational media, which is valuable for the training and learning of designers and the development of virtual education environment in the future.

Rediscovering Design Education as a Social Constructivist Foundation for Innovative Design Thinking

2011 ◽  
pp. 195-218
Author(s):  
Johann van der Merwe
Keyword(s):  
Design Process ◽  
Design Education ◽  
Design Thinking ◽  
Social Groups ◽  
Design Practice ◽  
Bruno Latour ◽  
Computing Technology ◽  
Innovative Design ◽  
The Public ◽  
Ubiquitous Presence

Design has been described by Bruno Latour as the missing masses, and tellingly as “nowhere to be said and everywhere to be felt” (2005: 73). Traditionally, not only objects, but design’s presence in general has gone largely unnoticed by the public, but that is changing, due, in considerable part, to the ubiquitous presence of computing technology. Design, as representative of unnoticed and neutral objects, is no longer feasible, but design, as a participative presence in the lives of its users, is fast gaining ground in our complex society. Designers are no longer fully in control of the design process, meaning design practice, and as a result design education must change to adapt to the increasing pace at which different social groups are evolving new ways of communicating and living.

DESIGN IDEA CREATION AND IMPLEMENTATION IN LEARNING PROCESS: STUDY CASE

2019 ◽  
Vol 4 ◽  
pp. 555
Author(s):  
Lauma Veita
Keyword(s):  
Problem Solving ◽  
Design Process ◽  
Learning Process ◽  
Design Education ◽  
Design Thinking ◽  
Learning Technologies ◽  
Problem Solving Skills ◽  
Practical Action ◽  
Art And Design ◽  
Vocational Orientation

In the 21st century design thinking or problem-solving methodology has obtained a wide response in product development and service provision. It is a way of thinking which takes us to changes. Currently, in Latvia the schools which implement vocational secondary education art and design education programmes and also vocational orientation education programmes in art and design area have obtained the broadest experience in design acquisition. Taking into account the significance of problem-solving in learners’ development, design has been included in the comprehensive education content. Teachers need a new skill – to organize the design process so that their pupils would acquire problem-solving skills in a practical action. How have the teachers organized the design process? What learning methods have been applied? How is the design thinking developed? Goal analyse theoretical knowledge in design thinking and teachers’ experience of learning technologies in design acquisition which has been acquired in art education of vocational orientation. The Latvian National Culture Centre has compiled the experience of art teachers in methodological material “No Tēla līdz dizainam. Putns” (“From Image to Design. Bird”), it can look at 24 individual or pedagogical workgroup design process methodology for primary school pupils. Using designer IDEO group 3 I model – Inspiration, Ideation, Implementation, in the methodological material, development of design thinking has been described with 10 different techniques. The author’s analysis conveys the possible competences, what knowledge and skills pupils acquire in the design process, what techniques and methods the teacher applies in the learning process in design acquisition. The methodological material used in the research is one of the first for elementary school pupils’ design thinking development in Latvia, it enables us to identify problems and needs for school teachers. 

From design thinking to design knowing: An educational perspective

2019 ◽  
Vol 18 (2) ◽  
pp. 187-200
Author(s):  
Harah Chon ◽  
Joselyn Sim
Keyword(s):  
Interior Design ◽  
Collaborative Design ◽  
Design Education ◽  
Design Research ◽  
Design Thinking ◽  
Procedural Knowledge ◽  
Knowledge Generation ◽  
The Arts ◽  
Innovative Methodology ◽  
Design Activities

The process of design explicates the procedural knowledge of design activities, shifting theoretical conceptions across practical dimensions. Design thinking, as a creative and innovative methodology, has been established as a designerly process for non-designers to address complex problems. This article reviews the implications of introducing the design thinking methodology as a pedagogical approach in design education at LASALLE College of the Arts in Singapore, generating new knowledge to inform the research spaces of design practice and theory. Using the design thinking methodology as a sound framework to facilitate risk-taking decisions in design research and practice, students from the design specialisms of Design Communication, Product Design and Interior Design were inducted into an interdisciplinary project. The perspectives and insights arising from the collaborative, design thinking methodology are extracted, analysed and adapted to form a framework to illustrate the non-linear, circular structures of knowledge generation from theory (designerly knowing) to practice (design thinking) and research (design knowing).

What Engineering Designers Leave Behind: Developing a Cognitive Coding Scheme for Student Design Journals

2010 ◽  
Author(s):  
Sophoria Westmoreland ◽  
Linda C. Schmidt
Keyword(s):  
Design Process ◽  
Cognitive Processes ◽  
Limited Resources ◽  
Engineering Practice ◽  
Trial And Error ◽  
Coding Scheme ◽  
Innovative Solutions ◽  
Design Documentation ◽  
Problem Solving Strategies ◽  
Real World Problems

Some historically successful engineering inventions have been designed by trial and error as was the famous case of Thomas Edison’s light bulb. No contemporary design researcher would advocate a tedious, trial-and-error methodology as the basis for engineering practice. The 21st century engineer is expected to create innovative solutions to real world problems with limited resources and limited time. Successful engineering design methods are those that substitute trial-and-error with practice-based guidance (e.g., TRIZ), mathematical analysis (e.g., optimization), general problem-solving strategies (e.g., functional decomposition and synthesis), or good cognitive thinking strategies (e.g., Synectics). This research is placed in the last category, studying the cognitive processes that can be observed in recorded work of engineering designers. This study is the first step in research intended to go further into the designers mind and reveal new insights about the design process. This paper presents a cognitive coding scheme model to organize and categorize designer “thinking” as recorded in design documentation. The product of this research can be used to instruct curriculum on teaching the design process for students and professional engineers.

Critical Review and Appraisal of Traditional and New Procedures for the Quantification of Creep Fracture Behavior Using 1Cr–1Mo–0.25V Steel

2009 ◽  
Vol 131 (2) ◽  
Author(s):  
M. Evans
Keyword(s):  
Large Scale ◽  
Rupture Life ◽  
Design Data ◽  
Data Set ◽  
New Approach ◽  
Creep Fracture ◽  
Scale Test ◽  
New Procedures ◽  
Term Data

The approaches traditionally used to quantify creep and creep fracture are critically assessed and reviewed in relation to a new approach proposed by Wilshire and Scharning. The characteristics, limitations, and predictive accuracies of these models are illustrated by reference to information openly available for the bainitic 1Cr–1Mo–0.25V steel. When applied to this comprehensive long-term data set, the estimated 100,000–300,000 h strength obtained from the older so called traditional methods varied considerably. Further, the isothermal predictions from these models became very unstable beyond 100,000 h. In contrast, normalizing the applied stress through an appropriate ultimate tensile strength value not only reduced the melt to melt scatter in rupture life, but also the 100,000 h strengths determined from this model for this large scale test program are predicted very accurately by extrapolation of creep life measurements lasting less than 5000 h. The approach therefore offers the potential for reducing the scale and cost of current procedures for acquisition of long-term engineering design data.

scholarly journals Laboratorium GeoDesignu – koncepcja przestrzeni do pracy kreatywnej na Kampusie 600-lecia Odnowienia Uniwersytetu Jagiellońskiego

2020 ◽  
pp. 67-84
Author(s):  
Małgorzata Luc ◽  
Małgorzata Pietrzak ◽  
Katarzyna Rotter-Jarzębińska
Keyword(s):  
Higher Education ◽  
Design Process ◽  
Design Thinking ◽  
Learning By Doing ◽  
Creative Work ◽  
Similar Function ◽  
Spatial Management ◽  
Interdisciplinary Character ◽  
Design Activities ◽  
Planning Space

GeoDesign Laboratory – a concept of a space for creative work on the Campus of the 600th Anniversary of the Jagiellonian University Revival GeoDesign is a set of techniques and technologies allowing to combine geographic analysis with the design process. It has an interdisciplinary character and is used to create projects of both natural and socio-cultural nature, on the basis of which it is possible to make the most rational decisions. As part of creating a sustainable Campus of the 600th Anniversary of the Jagiellonian University Revival, and at the same time in response to the prevailing trends in planning space for education and communicating the values of higher education, a concept of creating a geodesign laboratory will be presented. It is designed for the community of the Institute of Geography and Spatial Management of the Jagiellonian University in Kraków, and, more broadly, for the Faculty of Geography and Geology of our University. Scientific research confirms the effectiveness of space organized so as to stimulate creativity, encourage teamwork, and give an opportunity to apply methods in the field of geodesign, design thinking and learning by doing. Creating space for design activities is a noticeable trend at modern universities. The publication presents several examples of spaces with a similar function from Poland and abroad. The last part of the article presents a proposal of the appearance and functioning of the designed space for creative work. Zarys treści: GeoDesign to zestaw technik i technologii, które pozwalają na połączenie analiz geograficznych z procesem projektowania. Ma on charakter interdyscyplinarny i służy do tworzenia projektów zarówno o charakterze przyrodniczym, jak i społeczno-kulturowym, na bazie których możliwe jest podejmowanie jak najbardziej racjonalnych decyzji. W ramach tworzenia zrównoważonego kampusu, a jednocześnie w odpowiedzi na panujące trendy w planowaniu przestrzeni do edukacji i komunikowania wartości szkolnictwa wyższego, zostanie zaprezentowana koncepcja utworzenia laboratorium geodesignu. Jest ono projektowane na potrzeby społeczności Instytutu Geografii i Gospodarki Przestrzennej Uniwersytetu Jagiellońskiego i szerzej – Wydziału Geografii i Geologii naszej Uczelni. Badania naukowe potwierdzają efektywność przestrzeni zorganizowanej tak, aby pobudzała kreatywność, zachęcała do pracy zespołowej, dawała możliwość zastosowania metod z zakresu geodesign, design thinking i learning by doing. Tworzenie przestrzeni do działań projektowych jest zauważalnym trendem na współczesnych uniwersytetach. W publikacji zaprezentowano kilka przykładów przestrzeni o podobnej funkcji z Polski i z zagranicy. W ostatniej części artykułu przedstawiono propozycję wyglądu i sposobu funkcjonowania projektowanej przestrzeni do pracy kreatywnej.

scholarly journals Expert User Education: Redefining Role of Design And Designers of IR 4.0 in Rehabilitation Setting

2019 ◽  
Vol 15 (3) ◽  
pp. 266
Author(s):  
Nurhikma Mat Yusof ◽  
YM Raja Azmeer YM Raja Effendi ◽  
Siaful Hasley Ramli
Keyword(s):  
Design Education ◽  
Social Impact ◽  
Design Thinking ◽  
Design Method ◽  
Interdisciplinary Collaboration ◽  
Field Research ◽  
Design Practice ◽  
Expert User ◽  
Design Activities ◽  
Design Intervention

Interdisciplinary is a huge innovation in education. It sets a wide perspective of knowledge boundaries with different background of expertise in order to achieve better outcomes and social impact. Innovation in the other way closely related to the creative mind as being portrayed as design thinking. A cross-field research has been conducted between occupational therapist (expert-user) and designer due to innovation activities occurs in the rehabilitation setting. Increasing creation of assistive technology (AT) for patients grows in numbers but unfortunately issues of the low rate of usage being highlighted. What went wrong to those creation? The purpose of this paper is to investigate the effective design practice that suits to the need of interdisciplinary for design intervention in rehabilitation setting. In design education, several approaches were applied by the designers to help the non-designer to innovate products in their field such as co-creation. Hence, a total of selected studies from design and innovation journal between year 2010 until 2018 being reviewed using Mendeley to analyse the difference design activities involved. Upon findings, attributes for interdisciplinary for design education for expert-user are including types of user, experience and technology factors. Recommendation for further research in design method for interdisciplinary collaboration for expert-user is perceived to bring better creation by future Design Innovation Catalyst (DIC) where they can adopt design intervention in their field for effective problem solving; either in design or non-design activities. The importance of these findings for design interdisciplinary is discussed. KEYWORDS: Co-design practice, Expert-user, Innovation, Interdisciplinary

scholarly journals Students crossing cultural boundaries within a transnational design course in China: An activity theory analysis

2021 ◽  
Author(s):  
◽  
Brenda Saris-Brandon
Keyword(s):  
Activity Theory ◽  
Design Process ◽  
Design Education ◽  
Design Thinking ◽  
Chinese Government ◽  
Second Phase ◽  
Creative Design ◽  
International Partnership ◽  
Process Learning ◽  
Creative Design Process

<p>The focus of this thesis is on visual communication design (VCD) students’ engagement with creative design process learning within a transnational context. The context is an international partnership between a higher education institution in New Zealand and Hunan City University (HNCU) in China. The Chinese government is currently positioned in a third wave of an internationalisation strategy which encourages cooperative agreements with foreign or overseas institutional partners situated within Chinese universities. For design institutions in particular, the Made in China government initiative has led universities to actively engage with design education approaches imported from the west. The aim for Chinese institutions is to encourage student creativity in order to build on government aspirations to move China from a manufacturing, to an innovation and design led economy.   Cultural historic activity theory (CHAT) was used to analyse data from a VCD studio classroom at HNCU in China. A three-level hierarchy of artefacts model was developed for the analysis, which by extention offers a CHAT approach for creative design scenarios. The study had two phases. The first comprised two project-based case studies exploring how creative design process learning occurred when the students were exposed to design thinking. Students were organised into dyads to foster collaborative work for the projects, a branding project, and a cultural project involving illustration design. Data gathered through video stimulated recall interviews with eight dyad participants (sixteen VCD students) and 200 written reflections were analysed. The second phase of the research focused on understanding the cultural and historic pedagogical context. Eight semi-structured interviews were conducted with local teachers at HNCU, and observations were undertaken in Chinese language medium classrooms.  Underpinning the findings, are the ways in which Chinese design education practices at HNCU are shaped by an interweaving of Confucian thought within contemporary social and political tenets (e.g., striving for perfection). The analysis revealed that familiar and unfamiliar learning practices, including previous models encountered by students in the classroom, together with an adjustment to new practices, directly impacted student actions. Imported educational practices resulted in tensions and contradictions between step-by-step and iterative design thinking processes, and collaboration within the division of labour. Non-creative and creative activity outcome conclusions were drawn, and it is argued that a fresh perspective emerged.   A creative craft practice situated within its historic and cultural context exists at HNCU. Key to the idea of creative craft practice is that historic and current sociocultural contexts participate in the creative process and contextual elements such as materiality, and teaching practices which use imitation, repetition and precedents, are assembled. The practice contained deeply intertwined student object-oriented motives of product over process, and productions of excellence or perfection. Over time, the efficacy of these motives, alongside drawing from examples for conceptual development, led to enhanced student agency and engagement. This overall finding challenges the creativity deficit belief about students from China, and the originality syndrome imposed on VCD students. The contribution is timely owing to a dearth of studies about graphic or VCD education in general and the potential influence of transnational teaching on creative design process learning in China.</p>

scholarly journals Flow. An exploration of the mindsets and behaviours of designers in their creative ecosystem

2020 ◽  
pp. 64-65
Author(s):  
Raul Sarrot
Keyword(s):  
Design Process ◽  
Design Education ◽  
Design Thinking ◽  
Field Work ◽  
Global Scale ◽  
Mental Wellbeing ◽  
Environmental Agents ◽  
Points Of View ◽  
The Individual ◽  
The Impact

How might Designers transcend the barriers to creativity to achieve an ideal state of flow during their Design process? What type of ecosystems and other environmental agents affect their creative mindsets and behaviours during their process? How resilience and mental wellbeing play a role in their work during challenging times? How different cultural environmental backgrounds could play a role in troubleshooting roadblocks for creativity? What are the personal, societal and cultural impacts of recent Covid lockdowns in the Design process and do digital environments affect the ability to sustain a healthy design practice? How having the recent mindset of designing for a globalised world reacts to the reality of being in –and designing from– Aoteroa New Zealand’s safe ‘bubble’? How this new fluid reality could affect the mindset and behaviours of current and future Designers? Tracing parallels between Design education and industry-based practice, Flow is a research project that explores the mindsets and behavious of Designers during their creative process. Particularly, it delves into the Designers’ ecosystems taking into consideration the impact and influence of the different components and the conditions of digital and physical environments both chosen or imposed both in academic world and in industry. Flow goes beyond researching mindsets and behaviours. It also explores what could constitute potential bridges and barriers to creativity and what could ignite or enable positive and productive creative attitudes in Designers. Based on foundational art essays, such as Wassily Kandinsky’s classic ‘Concerning the Spiritual in Art’ and Hundertwasser’s ‘Five Skins’; and blending in points of view of traditional graphic or brand designers (such as Milton Glaser and Michael Bierut) and combining this with Positive Psychology concepts (such as Csikszentmihalyi’s optimal experience) and primary research done specifically by the author, this presentation challenges paradigms and contrasts core design principles and philosophies. It balances the tensions between the individual spark of creativity, the playful serendipity and the ‘inventor’s ligthbulb mindset’ and contrasts it with different creative processes, from the specialist’s apprentice/master craftsmanship model to more contemporary methodologies or techniques such as Design Thinking or Agile and their co-creation, prototyping and iteration modules. This provides the backdrop where mindsets and behaviours and the creativeecosystems are explored. As a piece of research, Flow doesn’t offer final crystalised answers or solutions yet instead poses critical questions and offers an open dialogue with diverse points of view based not only on specific primary and secondary research conducted over the last 5 years by the author yet also feeds from the author’s insights, a designer and academic with 30 years experience of combined practice in academia and industry field-work at a global scale.

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