scholarly journals Essential competences to fashion design practice for sustainability from the perspective of Design Thinking

2016 ◽  
Author(s):  
Iana Uliana Perez ◽  
Cleuza Bittencourt Ribas Fornasier ◽  
Suzana Barreto Martins
Keyword(s):  
Design Thinking ◽  
Great Part ◽  
Fashion Design ◽  
Exploratory Research ◽  
Design Practice ◽  
Design For Sustainability ◽  
Design Activities ◽  
Productive Process ◽  
Similarities And Differences ◽  
Design Skills

The production and consumption of clothing products is characterised by rapid and continuous cycles of purchase, use and disposal of clothes, which leads to several environmental and social impacts. In order to change this reality and promote sustainability, this sector has to undergo deep transformations (Fletcher & Grose, 2011). In this context, designers play a significant role. In addition to being in the position of decision-making about materials and methods used in the productive process, the questions raised by sustainability demand design skills (Brown, 2010; Gwilt & Rissanen, 2011; Fletcher & Grose, 2011). However, the role reserved to fashion designers in this context is “more complex than traditional design activities” (Fletcher & Grose, 2011, p. 162). Design practice for sustainability demands different competences from the designer. In view of that, this paper explores the competences in design and fashion design for sustainability, and aims at verifying similarities and differences between them, in order to analyse the knowledge inherent to sustainability through design thinking. The methodology used for the study was deductive, conducted through qualitative exploratory research, outlined by bibliographic research and developed based on several books about design, fashion and sustainability. The identification of the competences took four aspects into account: types of thinking, types of knowledge (know what to do and why), skills (know-how) and attitudes (be willing to do). Design and fashion design competences for sustainability were compiled separately and then compared for similarities and differences. As a result, we found that great part of design competences are important for sustainable practices: approximately 58% of attitudes, 36% of thinking, 58% of knowledges and 41% of design skills are common to sustainable fashion design competences. The comparison shows the importance of attitudes to the work with sustainability – once its addition was significant –, and the need of acquiring specific knowledge of fashion design for sustainability. Research also shows that, for a professional with design competence, the development of thinking and skills needed for working with fashion design for sustainability is easier.DOI: http://dx.doi.org/10.4995/IFDP.2016.3266

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

Graphic design practice of an image for the Chinese character for "鼓 Drum"

2019 ◽  
Author(s):  
POHSUN WANG
Keyword(s):  
Design Thinking ◽  
Chinese Character ◽  
Science And Technology ◽  
Point Of View ◽  
Learning Design ◽  
Design Practice ◽  
Cultural Issues ◽  
Artistic Value ◽  
The Status ◽  
The Times

Basic shape is one of the most important components of the learning design process. Using Western design thinking to understand shape, color and composition layout and attempting to reinterpret the application of traditional calligraphy from a design point of view—whether it is the expression of form or the meaning of content—are both important aspects of design thinking. The writing patterns of traditional calligraphy and the design creation of modern experiments may have different biases. If the artistic value of "the brush and ink of the time" is compared to the science and technology of innovation as the main appeal, the expressiveness of the traditional writing mode is obviously difficult to achieve. Using science and technology as an option for design creation is a difficult way to proceed; however, technology, ideas and thinking can still be in sync with the cultural issues of an entire era. This is also the test of the times to which contemporary creations are subjected. There are infinite possibilities for development, and it is worthwhile to explore these possibilities together with artistic aspirants. On the other hand, if we follow the well-beaten path of the status quo, the creativity of traditional calligraphic art will wither, it will deviate from the larger environment of the era in which it operates, and it will inevitably be neglected and pushed out by other art categories. The design and creation process uses the traditional calligraphy characters and drums as the theme, assisted by digital tools in the creation, and finally transforms the traditional calligraphy visual form into an expression of the art of science and technology.

scholarly journals Smart Experience in Fashion Design: A Speculative Analysis of Smart Material Systems Applications

Arts ◽  
2018 ◽  
Vol 8 (1) ◽  
pp. 4
Author(s):  
Marinella Ferrara
Keyword(s):  
Smart Materials ◽  
Design Research ◽  
Design Thinking ◽  
Human Perception ◽  
Smart Material ◽  
Fashion Design ◽  
Material Systems ◽  
Limited Edition ◽  
Smart Material Systems ◽  
Design Scenario

During the last decade, smart materials and systems have increasingly impacted several niches, including ‘one-off/limited edition experimental fashion’. As the traditional boundaries between what is art and what was not supposed to be art are now turning into osmotic membranes, we will speculatively focus on how ‘smart material systems’ are highly contributing to outline a new creative landscape full of interesting and compelling issues. Introducing three different sub-niches of experimental fashion—multi-sensory dresses, empathic dresses, and bio-smart dresses—this article outlines the emergence of a new smart design scenario. Then, we critically discuss some of the implications of the developing research in terms of design thinking and design aesthetics. This paper aims to contribute to the topic of next design scenario, demonstrating how design research is increasingly affecting the extension of human perception, emotions, and the concept of ‘almost-living’ entities, projecting towards the redefinition of relationships with materials and objects.

Factored axial compressive resistance of schifflerized angles

1991 ◽  
Vol 18 (6) ◽  
pp. 926-932 ◽  
Author(s):  
Seshu Madhava Rao Adluri ◽  
Murty K. S. Madugula
Keyword(s):  
Key Words ◽  
Design Method ◽  
Design Criteria ◽  
Design Practice ◽  
Buckling Mode ◽  
Flexural Buckling ◽  
Mode Of Failure ◽  
Current Design ◽  
Similarities And Differences ◽  
Compressive Resistance

The concept of schifflerization of 90° equal-leg angle is presented and its application in triangular-base latticed steel towers is explained. The similarities and differences between schifflerized angles and regular 90° angles are discussed. The current design practice for schifflerized angles is reviewed and its limitation is highlighted. A design method which includes the effect of the torsional-flexural buckling mode of failure is proposed. For ready use of designers, the factored axial compressive resistances of schifflerized angles are tabulated for both the present and proposed design methods. Key words: buckling, compressive resistance, design criteria, schifflerized angles, stability, standards, steel, struts, towers, guyed towers.

Cognitive Apprenticeship for Teaching Computer Science and Leadership in Virtual Worlds

2019 ◽  
pp. 180-200
Author(s):  
Cynthia Calongne ◽  
Andrew G. Stricker ◽  
Barbara Truman ◽  
Fil J. Arenas
Keyword(s):  
Computer Science ◽  
Situated Learning ◽  
Virtual Worlds ◽  
Design Thinking ◽  
Cognitive Apprenticeship ◽  
Leadership Education ◽  
Self Reflection ◽  
Learning Programs ◽  
Design Activities ◽  
Future Work

Cognitive apprenticeship refers to the development of skills under the guidance and tutelage of a domain expert. This chapter covers the theory and highlights 10 years of virtual learning experiences and 52 classes using the cognitive apprenticeship model. It reflects on the impact of presence and explores how learning communities develop as students assume roles and learn by working next to skilled faculty. The examples reinforce the value of deep immersion and identity in situated learning. The software design activities illustrate the benefits experienced when students assume ownership and structure their activities. Through self-reflection, learners illustrated the power of design thinking through group and individual design studios. The chapter concludes with observations from 400 eighth graders and reflections on future work in the design of sustainable learning programs for computer science and leadership education.

Cognitive Apprenticeship and Computer Science Education in Cyberspace

2017 ◽  
pp. 180-197
Author(s):  
Cynthia M. Calongne ◽  
Andrew G. Stricker ◽  
Barbara Truman ◽  
Fil J. Arenas
Keyword(s):  
Learning Communities ◽  
Appreciative Inquiry ◽  
Situated Learning ◽  
Educational Program ◽  
Design Thinking ◽  
Cognitive Apprenticeship ◽  
Self Reflection ◽  
Design Activities ◽  
8Th Graders ◽  
The Impact

The lens of appreciative inquiry, as seen through the eyes of educators, examines ten years of virtual learning at several institutions. The study reflects on the impact of presence, and explores how learning communities develop as students assume roles and learn using cognitive apprenticeship. The examples reinforce the value of deep immersion and identity in situated learning, even as the software design activities illustrate the benefits experienced when students assume ownership and structure their activities. Encouraged by self-reflection, the learners explore their shared values, form into groups, and make personal discoveries. The examples illustrate the power of design thinking during individual and group work. From early work with 400 8th graders through 50 higher education classes taught at two institutions, techniques emerged for applying cognitive apprenticeship and deep immersion that strengthened the experiences and provided insights for developing a sustainable educational program.

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.

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