Design pedagogy

Este artigo pretende instigar reflexões acerca do ensino de design da informação na atualidade, tendocomo principal referencial teórico os questionamentos expostos pelo filósofo sul-coreano Byung-Chul Han.Abordando o esgotamento da sociedade do século XXI, bem como a temporalidade do processo decriação digital ao qual os alunos e alunas estão submetidos, este trabalho tece conexões entre as ideiasde Han e de teóricos do campo do design — ou próximos a ele —, a fim de se pensar o estímulo aoequilíbrio entre as habilidades técnicas e o pensamento visual destes estudantes. Nesse sentido, apontatambém para a necessidade de se reconsiderar os processos pedagógicos e avaliativos, enraizados nasnoções de desempenho, urgência, controle e rigidez, com o intuito de conduzir a outras relações deensino-aprendizagem e possibilitar — através da priorização da subjetividade, da observação minuciosada informação e da criação lenta — a produção de novas mensagens e significados.

This article intends to instigate reflections about the teaching of information design today, having as main theoretical reference the questions raised by the South Korean philosopher Byung-Chul Han. Addressing the exhaustion of 21st century society, as well as the temporality of the digital creation process to which students are subjected, this work weaves connections between the ideas of Han and theorists in the field of design — or close to him —, in order to think about stimulating the balance between the technical skills and the visual thinking of these students in pedagogical practices. In this sense, it also points to the need to reconsider the pedagogical and evaluative processes, rooted in the notions of performance, urgency, control and rigidity, in order to lead to other teaching-learning relationships and to enable — through the prioritization of subjectivity, of minute observation of information and slow creation — the production of new messages and meanings.

This paper describes the development of a pedagogy that aims to engage architecture students in principles of mechanical computation and to develop critical thinking on how information and computation can be manifested and performed tectonically. I pose the question: Can we create architectures that compute?

The theatrical design process is rooted in a deep and careful examination of a "text", be it traditional script or a devised process.  This paper examines the importance of a dramaturgical analysis of that text, one which allows for an immersion into the material, and it's relationship to the designer's process which requires a designer to dwell within that text and be "baptized" by the process.

Ce chapitre développe un positionnement méthodologique pour l’accompagnement des mémoires dans les formations supérieures en design. Peu valorisés malgré leur importance, ces écrits sont souvent perçus comme des exercices imposés, formatés suivant les canons de conceptualisation et de rédaction universitaire, et reléguant la dimension design à la seule mise en forme.
Partant d'expériences pédagogiques entre pratique et théorie réalisées à l’ESAD TALM, nourries par les réflexions de Charles Eames, Laszlo Moholy-Nagy et Tim Ingold, ce texte vise à mettre en lumière quelques manières, propres au design, de faire recherche .

The importance of creativity as an attribute of the 21st Century learner is now widely acknowledged and a global trend across all disciplines. To meet both current and future needs of both students and society a university education must develop and support creativity in learners. This paper was developed to outline the range of creative disciplines, the diversity and interconnectedness of the disciplines, and how this is reflected in the needs for appropriate pedagogical models and consequently spaces for learning, both formal and informal. A number of pedagogical models focussed on supporting and encouraging creativity are currently in practice. However, new models are emerging as creative disciplines are becoming augmented with new and innovative technologies, including biotechnologies, and the vast possibilities of contemporary creative media. This paper addresses the Creative Disciplines of Visual Arts, Performing Arts, Design Arts, Media Arts, Literary Arts and Hybrid Arts and explains the need for Creative Curricula. Creative disciplines are diverse yet interconnected and whilst individually unique, they are essentially interdisciplinary and linked to needs of cultural and social contexts and professional practice. Engaging students in creative disciplines is linked to the learners through the affective dimensions of the curriculum and motivational factors, and involves experiential learning situated in authentic learning contexts. Design considerations for spaces for learning for creative disciplines must focus beyond contemporary requirement and allow for future expansion or rearrangement depending on needs and areas of development.

In March 2020, the World Health Organization officially announced the COVID-19 outbreak as a global Pandemic (WHO, 2020). During this time, the United Arab Emirates (UAE) introduced national preventative measures to slow the spread of the deadly virus by announcing the closure of schools and higher education institutions, and the commitment of online learning. Teaching faculty at the College of Arts and Creative Enterprises (CACE) at Zayed University were suddenly facing the challenge of teaching design through a distance learning approach. As educators of interior design, the authors were part of the team tasked to find ways to teach design without physical contact with the students nor access to campus facilities traditionally used to run the program and its associated courses. This paper charts the pedagogy approach that the authors adopted as a response to the national lockdown. As design faculty, the authors felt that, despite the restrictions imposed on society because of COVI...

This paper reports on a specific aspect of research undertaken
to explore the use of real-time’ dynamic, digital portfolios as a
way of developing, evidencing and assessing design and
technological capability – the e-scape project (Kimbell et al.
2009). In particular, it focuses on the factors that inspired the
design ideas generated by the learners, as identified by the
learners themselves through an ‘inspiration pitch’. This ‘pitch’
took the form of a 30 second sound-bite, recorded on a
mobile phone, through which the learners explained the source
of their inspiration.
The learners’ responses were analysed to explore the type and
range of sources they identified, how these related to
performance in the task, whether gender was an issue and if
there was a ‘school’ effect.
A key feature of the task was the provision of an ‘inspiration’
handing collection and particular attention is paid to this. The
handling collection was provided by the school, following
guidance from the research team. The paper will report on the
way in which the activity and handling collections were
structured, the responses of the learners and the insights
provided into supporting design ideation. In addition, the paper
will report on other sources of inspiration – linked to both
resources provided through the task itself and also those from
external sources. Finally, the paper will identify certain key
messages that could be drawn on to enable teachers to
provide more effective support to learners’ development of
creative and innovative ideas.
This paper draws directly on the Report of Phase 3 of the escape
project (Kimbell et al, 2009).

In 1955 sculptor Victor Greenhalgh became  head of the Department
of Applied Art at Melbourne Technical College. One of his first appointments was Vaclav (Victor) Vodicka, a Czech goldsmith who had migrated to Australia in 1950 after the Communist takeover in the former Czechoslovakia. He joined the College in 1955 and over the succeeding years transformed gold and silversmithing into the leading course
of its kind in Australia.

First year of bachelor architecture curriculum is the most fundamental and critical education phase, especially in Indonesia, where primary and secondary educations contribute inadequate support for substantial art and drawing foundation. Before the implementation of new curriculum in 2007-2008, we found problems in each year's architecture (core-curriculum) studio mainly caused by insufficient basic skills, specifically in form-making ability (basic aesthetics). This problem worsens also by the 1:80 to 1:100 teacher-student ratios in our classes, limited credits (two class hours per week) and lacking of coordination between related courses, which are common problem in Indonesian university. This paper will present experiences and lesson learnt of Basic Aesthetics course in Bachelor Architecture Program of Gadjah Mada University in the last five years (2008-2012), focused on the innovations of learning methods and process as well as assessment and evaluation. Some of the innovations were supported by university's teaching grants (i.e. Student-Centered Learning (SCL) Teaching Grant, Student-Teacher Aesthetic Role (STAR), and Research-Based Learning(RBL)), and have been maintaining great results inside and outside the classroom. In general, we found at least four main points of successful Basic Aesthetics teaching, that are (1) understanding student's life style, (2) creating gradual 'challenges', (3) establishing clear assessment method, and (4) encouraging student and/or teacher leadership.

In India, the crafts and the design sectors share a symbiotic
relationship. Design education in India, influenced by the Ulm and
Bauhaus schools, creates designers who are trying to bridge the gap
between the past and present, in an effort to create a design language
that leads to renewal of the craft traditions and ensure the
sustainability of our living crafts legacy. Government and Design
institutions also create and undertake independent projects for the
upliftment of the crafts. However, there are many drawbacks to such
schemes. It is well known that these schemes focus only on the creation
of newer products and artifacts only, without considering the context of
any craft itself. In this paper, a framework has been proposed for an
alternate design led intervention in the crafts sector. The components
include: Creation of a Design Cell, Guidelines preparation, Research,
Seminar, Creation of craft specific Action Plan, Design Development
Workshop, Exhibition and Documentary.
This framework hopes to celebrate the sanctified relation
between the crafts and its craftspersons, in the creation of marketfriendly products, facilitated by the designer, while bridging the gap between the old and the new.

Design education, at face value, is often seen as being vocational – that it is about educating the next generation of designers.  But all humans are ‘designerly’ by nature.  We have a predisposition to envision and create new future realities in a way that has been described as an intrinsic and defining characteristic of being human and that is vital for cultural evolution. It is a capability that exists as innate potential. 

In this paper I argue that it is a critical responsibility of educators to develop design capability in all learners at all levels of education. To do this effectively requires a radical questioning of assumptions about the similarities and differences between educating young children and future professional designers, about the nature of difference between novice and expert designer, and of the value placed on developing the designerly potential in all.

I also argue for a closer alignment between researching designing in a professional context and researching designing in younger learners as a way of bringing mutual benefit and a greater understanding of the value the designerly has, both for the individual and for civilisation.

In the first section of the paper I lay out some of the concerns that have been raised, historically and currently, over the place of design education in the curriculum.  I then move to explore the issues raised through drawing on a number of research projects conducted in the Technology Education Research Unit at Goldsmiths.  Finally I consider aspects where research has not, so far, provided the answers and suggest where we might begin in seeking further understandings

The paper brings forward a case study of pedagogical approach where students getting attuned to mainstream studio design skills were delivered Design Management as a supporting course alongside their core courses in under graduate Industrial Design degree program at National University of Sciences and technology, Islamabad (Pakistan). Associated with design-practice or learning, projected increase in economic growth mainly premised upon the fruits of the China-Pakistan Economic Corridor, the prospects of business; creation and revitalization will arise. This provides an ideal opportunity for design schools in country to create platforms where appreciation of value and profits is integrated with core studio education. The paper looks into one such unique example where a course was first formulated and taught for one semester, parallel to the core studio course. Based on exploration of the wider business context where analysis of the role of design and designer helps in identifying design management as a competitive tool of innovation and business, the course has now become part of the degree program. Skills attributed to identifying opportunity are learnt and later applied to aid the process; ideation and development and analysis of theme, in studio based design projects that followed. This positive use of acquired skills indicate the relevance of management based knowledge, that is mainly centred on creating value and service, in core studio courses. The paper is built on reflective practice that solicits the significance of Design Management as a core competency to be endorsed by design academics and practitioners in Pakistan and developing world.

In this paper I examine and present the role that cultural
interrogation can, and needs, to play in a contemporary design program. I make the case for an educational environment that interrogates and uses culture as a both an internalizing and externalizing focus. The integration of a cultural focus in design pedagogy creates opportunities for students to work with and design for the Other, and this empowers students to question, define, communicate, and design in and for their own culture. Projects are presented and analyzed—from a collaborative cultural identity brief that paired together North American and Asian design students to a study-abroad course where students had the opportunity of working with designers, design educators and design students while living in another culture.

The 'analytique' is a Beaux-Arts approach to teaching design principles through an 'order problem' which relies on the analysis and representation of built work. The term 'analytique' refers to the product of a student's study: a carefully composed and drawn expression of the solution, emphasizing the relationship of parts to the whole, and of details to overall proportions. This paper presents a post-modern approach to the analytique. The post-modern analytique expresses the nature of current practice in landscape architecture: pluralistic in meaning, expressed through layered references and materials, and focused upon 'ideas, not authors.' This paper first presents an overview of the Beaux-Arts analytique and then defines 'post-modern.' Examples of student analytique projects, made using both traditional and digital media, illustrate the post-modern approach to the analytique.

Design Education Institutes across the world are today facing the critical challenge to keep pace with the fast-­-changing economies. The profile of the design graduates has undergone a sea change. And on the other end, the profile of the incoming students has changed considerably. In India also, the design has undergone major changes and rapid transformation over the last two decades. A gap is being felt between the industry and societal expectations and the skills and capabilities of the design graduates. To address this critical concern, the National Institute of Design, India's premier design institute, initiated a comprehensive exercise to review curriculum and pedagogical approaches of all its educational programs. The complex system of education at NID required the development of a customized, multi-­-pronged and systematic process to obtain a holistic perspective on the status of design and design education in India. The framework for the exercise was developed around some of the institute's already established best practices and involved all its stakeholders. Each element of the design pedagogy practiced at the institute was taken up and reviewed thoroughly. This comprehensive exercise culminated in the development of a Vision Document, Curriculum Framework, revised Flowcharts and Course Abstracts. It helped revise and improve each course in terms of its effective delivery, outcomes and connect with the overall objectives of the program. The exercise helped revise and realign the programs with contemporary demands and future expectations.

In 1966, British artist, designer and educator Simon Nicholson (1934–1990) offered a lower division course, Design 12, at the College of Environmental Design, UC Berkeley. Controversially, Nicholson promoted play as the principal method of design and invited
children to assess students’ projects on the Berkeley campus and in local schools, parks, playgrounds and hospitals. This article presents Design 12 as an important example of environmental design pedagogy in the USA, which uniquely attempted to synthesize
British post-war constructivism with ‘design science’ and adventure play. The result was a course that placed play at the centre of design pedagogy, where it could combine intuition with systems building to promote ‘involved science’ and co-construction.

Original at: https://zqjournal.org/editions/zq31.html

Proposing that nature is pervasive and that metabolic architectures are embedded in nature, I situate texts and theory as responses to techniques/methods for operational and research procedures. This text is thus a companion to my ongoing Metabolic Architectures campaign for thinking about, theorizing, and designing digital-biomimetic structures dialectically related to biology, technology, intelligence, and environmental bioremediation. In that categorization, theory is integral to the tasks of defining and evolving generative metabolic architectures and urbanisms as equal to the projectʼs drawings and models.
I started by building analog branching systems with plant and tree limbs — sometimes skinning their sculptural forms with environmentally strong, handmade yucca paper (Fig 1).This was in the early 2000s. My intention was not to create structural efficiency, but to evolve expressive branching that fused, bonded, and distributed force to create tension/compression, treelike scaffoldings hosting performative surfaces. I drew those structures in Rhinoceros 3D (Rhino) thinking that once structural systems were rooted in digital space, plant algorithms, and living infrastructures, facade panels could be designed and prototyped as bioarchitectural case studies.
In return, early works started reconfiguring my thinking about triangulated (truss) systems as irregular, curving and branching units — what I called eTrees (Fig 2). This motivated the transformation of post-and-lintel, load-bearing construction into biomimetically inspired components, based on interwoven vines or intermingled tree branches. And, although far from living, the models took on properties of skeletal organisms with environmental resilience — modules intended to partner with and sequester intelligent organisms capable of autonomous, bioremedial functions. Those trusslike models can be seen as steps toward computational and STL-fabricated eTrees plotted as material and structural concepts.
Drawing, modeling, and scanning there after opened as pathways for generative architectures envisioned for machine fabrication and AI-regulated . . . (continued at https://zqjournal.org/editions/zq31.html)

This paper considers how design educators can harness the evolving nature of design practice to enhance learning for design students. It sets out the reasoning for embedding user-centered design research methods in the curriculum, describes the potential of these methods to transform learning and, as a result, better prepare graduates for their future career. Project-based learning was employed to explore the potential impact of embedding user-centered design research methods in the curriculum. Two project-based case studies, conducted with undergraduate design and design and marketing students in separate UK universities, illustrate how user-centered design research methods have been applied across traditional discipline boundaries. We report on student experiences immediately, and longitudinally (12 months) after the completion of the projects. Thematic analysis of semi-structured interviews with students on completion of the projects revealed that a more holistic understanding of the design process was developed through the use of user-insights generated as a result of engagement with these methods. While this process had caused positive tensions and recognition of the need to move beyond the self and to put themselves in other people's shoes, the insights generated informed subsequent design activity and provided a clearer link between research and design development. After 12 months, thematic analysis of follow-up interviews revealed changes in design practices through adoption of structured user-centered methods had led to an enhanced appreciation of contextual factors and underpinned and better justified design decisions. Detailed analysis of the findings informed the development of a Transforming Learning Framework which articulates how the adoption of user-centered design research methods shapes students longer-term understanding of, and approaches to, design. This framework conveys how new frames of reference and critical reflection led to an enhanced design skillset and mindset and as such provides new insights that have the potential to advance understandings of pedagogic practice. Finally, the research revealed that exposure to user-centered design research methods enhanced sensitivity to, and awareness of, user needs; increased understanding of context and the breadth of issues relevant in early stages of the design process; and amplified students confidence helping better prepare them for professional practice.

The ability to communicate effectively is of utmost importance in all professional fields. Effective communication skills are particularly important in architecture/engineering/construction (AEC) fields, where professionals need to communicate complex details and spatial relationships using written, graphical and verbal communication. While traditional curricula in AEC fields provide significant coverage of written and graphical communication skills, verbal communication skills are often limited to a dedicated course lacking discipline-specific content. In addition, there is a shortage of activities and tools to emphasize and develop verbal communication skills of AEC students. This paper presents a verbal communication game for students in the AEC fields. The game emphasizes the importance of clear, succinct verbal communication. The game is highly robust and can be adapted and carried out in a number of ways depending on situation and context.

This paper introduces a PhD project which draws on theories from Black and Women of Colour feminists to develop anti-racist and culturally progressive fashion design pedagogies. These pedagogical experiments start to show the value of Black and Women of Colour feminist scholarship that calls for the decolonization of pedagogy. Feminist scholarship emphasises the role of everyday life and ordinary experiences which have the potential to disrupt hegemonic thinking. Such experiences could help shape new fashion design pedagogies and culture. I will suggest how using bell hook's conception of "love" could also be taken up by fashion design educators to encourage students to explore points of connection and disconnection between different cultures, histories and experiences. hook's notion could, I will also suggest foster students' active awareness of how local and global cultures and histories might be more creatively and progressively interwoven to create a design process that resists stereotyping, appropriation and racist forms of representation.

As designers we tell stories as we engage in the design process. But how does one story differ from another? Are there storytelling types used during different parts of the process? What form and function do these stories take? In this paper we explore the nature of storytelling in the context of design and how it plays different roles throughout the process: (1) during research to explain user stories; (2) during ideation to expand the design space and explore problems; (3) as a prototyping tool; and so on. We also will describe inappropriate uses of storytelling in the design process; for example, telling pristine and unreal stories rather than keeping the story "roughly right." Examples of each of these classifications will be presented in the paper, illustrating good techniques throughout. Finally, implications for design pedagogy will be discussed.

This qualitative study examines both the cognitive and emotional development of design students as they transition from high school to the first year of design school. The study investigates this through the lenses of multiple constituents, including design school undergraduates, educators, directors, scholars, and current program structures. This study also considers the future of design education and what kind of experience might best prepare students for their transition into design school. Through a literature review, interviews, focus groups, survey, and the evolving industry, the transitional experience is contextualized. This study aims to provide both pre-college and undergraduate programs, educators, and directors with information for how they can improve their students' transition into undergraduate design programs.

Στην παρούσα εργασία επιχειρείται η διερεύνηση της μουσικής αγωγής στο χώρο του Νηπιαγωγείου και, ειδικότερα, το κατά πόσο ο οργανωμένος χώρος της μουσικής, η μουσική “γωνιά”, διευκολύνει και ενισχύει τόσο τις οργανωμένες μουσικές δράσεις με γνώμονα τους στόχους που τίθενται από το Αναλυτικό Πρόγραμμα Σπουδών του Νηπιαγωγείου και της Μουσικής αλλά και από τον/την εκπαιδευτικό, όσο και τις αυθόρμητες μουσικές ιδέες και δράσεις που αναπτύσσονται πηγαία από τους ίδιους τους μαθητές κατά τη διάρκεια της διδακτικής διαδικασίας. Το ζήτημα θα μελετηθεί, βιβλιογραφικά, από τη σχέση που ενυπάρχει μεταξύ χώρου και μουσικής, προχωρώντας στη νοηματοδότηση οπτικών και θεμάτων που προκύπτουν στην οργάνωση και δημιουργία του ξεχωριστού χώρου για τη μουσική και, ερευνητικά, από την πλευρά του διαθέσιμου εξοπλισμού, μουσικού και εν γένει οπτικοακουστικού, που διαθέτει η κάθε μουσική γωνιά, του αξιοποιήσιμου χώρου και του ρόλου του/της νηπιαγωγού, ενώ στη συνέχεια θα ερευνηθεί ο βαθμός στον οποίο τα παραπάνω επιτρέπουν στα παιδιά να αναπτύσσονται μουσικά, να χρησιμοποιούν δημιουργικά υλικά και μέσα, να πειραματίζονται και να συνεργάζονται. Η συλλογή των δεδομένων, για τα προαναφερθέντα ζητήματα, θα γίνει με τη χορήγηση ερωτηματολογίου σε εν-ενεργεία νηπιαγωγούς.

Salama, A. M. (1995). New Trends in Architectural Education: Designing the Design Studio. Tailored Text and Unlimited Potentials, Raleigh, North Carolina, United States. ISBN # 0964795000.

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This book presents a wide range of innovative concepts and practical ideas for teaching architectural design. It explores different aspects of studio teaching and what impact they have on the attitudes, skills, methods, and tools of architects. It offers a comparative analysis of contemporary trends that are committed to shaping and identifying studio objectives and processes. The book includes five chapters:

1) Introduction: Problems in the Practice of Architecture;
2) The Architect and Society;
3) Design Education and Studio Work in the Conventional Approach;
4) Revolutionary Concepts for Teaching Architectural Design - Design Studio Teaching Models; and
5) Expanding the Knowledge Base in the Architectural Design Studio.

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Review by Jon T. Lang, University of New South Wales, Australia

This is an invaluable guide to architectural educators because Dr. Salama has not only captured the body of knowledge about architectural designing and studio teaching and put it in a pithy form but he has also developed a typology of kinds of architectural studios, explaining what experiences each offers the student.

Climate change and rising energy costs necessitate a shift in how buildings that efficiently provide comfort are envisioned. With initiatives now aiming at bringing energy simulation into the mainstream of environmental design, the applicability of state-ofthe- art simulations in formally non-constrained creative production needs to be re-evaluated. To this end, a teaching experiment that includes multidomain simulations as drivers into the early architectural design process has been conducted; Master of Architecture students create a community centre with low energy use and high daylight utilization, presented in case studies. Performance increases are achieved by making appropriate morphological choices only; form and energy are thus linked in a tectonic fashion. A novel designsimulation process model that acknowledges both creative and analytic thinking is derived and discussed in the context of on-going integration attempts.

Introducing a radical new definition of perception that has far-reaching consequences for our understanding of language, intelligence, meaning, the senses and subjectivity, this book forges tangible connections between theory and practice, ideas and form, nature and culture, science and art. Set within landscape architecture, engaging with aesthetics, philosophy and psychology, as well as art design, architecture and other design fields, it is as relevant to professionals, researchers and students in these disciplines as it is for anyone wishing to understand the nature of artistic practice, become better designers or understand how to connect strategic ideas and policies to real places.

This thesis research project is an investigation of the influence of mindfulness practice within the context of design education. Mindfulness is a present-moment and non-judgmental awareness. The project explored the connections between mindfulness practice, ideation, and creativity through semi-structured interviews, with mindfulness practitioners, design educators and an educational specialist as well as an exploratory workshop with design students from the Department of Art and Design at the University of Alberta. One objective of the research was to develop a framework showcasing mindfulness practice as a visual aid to help explain the concepts to design educators and students. Another objective was to identify the extent to which mindfulness practice is already incorporated into design education. Throughout the process of investigation, themes related to mindfulness were identified. Connections were then made to the concept of ideation and creativity.

This paper discusses Architectural History and Theory at the Graduate School of Architecture, University of Johannesburg in 2019. The curriculum is centered on a series of conversations as the means to generate forms of engagement for a plurality of voices, contested views and dialogic encounters, as a way of working toward an alternative institutional imaginary. The focus on conversation and dialogue aims to create a space for slow and shared scholarship, to become a manifestation of spatial resistance to the imperatives of the neoliberal university and global economies of higher education. This paper discusses some of the key conceptual and practical moves undertaken in the development of a new history and theory course through examples of student work. The paper points to inclusive and reflexive pedagogical methods and modes of collaboration as central to resistance, and as the means that enable generative and supportive networks across geographic and institutional boundaries.

Our third-year studio actively integrates history, theory and criticism with design. It makes explicit the relevance of history, theory and criticism to the design process and prepares the student for upper level studies, especially integrated studio. In this, our guide was Colin Rowe, an historian and critic whose writings help to illuminate, in five logical steps, the design process. Of particular significance is his position on the well-worn form|function divide. For Rowe, form did not follow function nor did function follow form.

Algorithmic Tectonics is a course on creative computing in architecture and design. By learning to create computational design artifacts (such as experimental software, responsive objects and robotic fabrication applications) participants explore computation as a territory for speculative, critical and poetic thinking about design (rather than merely as an instrument of production or representation). Departing from the conventional approach of programming courses based on lectures and problem-sets, the course introduces each topic in a project-oriented fashion through design questions. Organized in three modules, design, visualize and make, the class prompts students to develop an appreciation for current developments in computational design, and to create their own projects with an incremental degree of sophistication: from simple interactive computer graphics to architectural robotics applications.

In order to contribute to the widening and enriching of the notion of aesthetics as it applies to design and so to the historian's task in this field, this essay examines the theories of aesthetics promulgated at the Hochschule für Gestaltung at Ulm (1953-1968), still a much-understudied institution. In particular it will investigate the confluence at that school of semiotics and semantics, information aesthetics, and experimental aesthetics. It looks at the break Ulm made with its predecessor, the Bauhaus, on the role of art and aesthetics in design. That break is seen as result of the HfG's re-evaluation of the profile and substance of industrial design, a re-evaluation itself contingent on an updated understanding of the contemporary 'environment' (Umwelt). The paper also examines the key aesthetic theories of the figures who passed through Ulm and shaped its curriculum in order to establish the influence of those figures on the wider history of design.

Due to a growing trend in the internationalization of higher education and the growing complexity of the information to be imparted; educators are increasingly required to demonstrate teaching methods that are inclusive and also improve learning outcomes and the learning experience of students. This trend is a move toward justice in education.
In the 20th Century, a Western, Modernist ideology rose to prominence and came to dominate theory and practice in the arts, architecture, the sciences and education.  The modernist emphasis on the individual, and the break with the past, displaced long established practices of learning -with roots in Eastern cultures and the cultures of the indigenous peoples of the Americas. Traditions of education based on collaboration, a master – apprentice relationship and observational learning became dominated by educational methods with individual achievement as the focus. This shift has had a proven effect on the decline of craftsmanship globally and has favored a more narrow range of intelligences in its definition of academic success.
This work demonstrates and describes a project-based strategy of learning as it is being implemented in an interdisciplinary/intercultural higher-education context. The development of skills is merged with the development of higher- and translational-thinking processes that are inclusive and allow a range of intelligences to contribute to collaborative solutions. The philosophical and methodological context of this pedagogy is rooted in established works by Vygotsky, Feuerstein and de Certeau as well as Design Thinking methods and Phenomenological structures that engender and evoke a more just experience of learning.

The importance of creativity as an attribute of the 21st Century learner is now widely acknowledged and a global trend across all disciplines. To meet both current and future needs of both students and society a university education must develop and support creativity in learners. This paper was developed to outline the range of creative disciplines, the diversity and interconnectedness of the disciplines, and how this is reflected in the needs for appropriate pedagogical models and consequently spaces for learning, both formal and informal.

A number of pedagogical models focussed on supporting and encouraging creativity are currently in practice. However, new models are emerging as creative disciplines are becoming augmented with new and innovative technologies, including biotechnologies, and the vast possibilities of contemporary creative media. This paper addresses the Creative Disciplines of Visual Arts, Performing Arts, Design Arts, Media Arts, Literary Arts and Hybrid Arts and explains the need for Creative Curricula. Creative disciplines are diverse yet interconnected and whilst individually unique, they are essentially interdisciplinary and linked to needs of cultural and social contexts and professional practice.

Engaging students in creative disciplines is linked to the learners through the affective dimensions of the curriculum and motivational factors, and involves experiential learning situated in authentic learning contexts. Design considerations for spaces for learning for creative disciplines must focus beyond contemporary requirement and allow for future expansion or rearrangement depending on needs and areas of development.

For global business and design management to thrive in a consensual learning environment there are various pedagogical approaches that can be applied. In particular, following designers from their native design environments in search of non-native environments can offer insights into applied pedagogy in both business and design education.
Thus, this paper explores how experiencing the value of design management in practice can assist the business degree learner to overcome pre-conceived boundaries created in their native business environment and reconstruct new boundaries in order to define a new native environment.
Woven throughout the study is the aim of ‘futuring’ students’ knowledge of design management to deepen intellectual curiosity, therefore encouraging the development of a learning and research culture. The paper draws on an evaluation of teaching and learning methods applied on design management modules, which are part of the BA (Hons) Global Management degree at Regent’s College, London, UK.

Touching and Seeing (162-63); The Four Typesetting Revolutions (164-66); ; Rhetorically ; Visual key concepts / / / / / / Typesetting technologies / craft / visual syntax / collective production / letterpress printing / book binding / reading convention / typographic tradition / typographic materiality objectives / / / / / / / / / / Become acquainted with historic processes (metal-type composition and letterpress printing).

This research provides an overview of the use of history in industrial and product design education in order to address the best practices for teaching history to a design student. History courses are perceived to be a chore in the designer’s undergraduate trajectory. My thesis provides historical context, and assesses the methods, content, and curricular structures that define the history curriculum to understand how we can better teach history to students. This is important in order to produce more critically informed design professionals upon graduation. This thesis aims to give a historical context of design education curricula, debates within design history surrounding content, and contemporary practices in curricula design and classroom pedagogies to assess best practices in successfully integrating critical studies into a designer’s education.

Salama, A. M. and Wilkinson, W. (eds.) (2007). Design Studio Pedagogy: Horizons for the Future. Urban International Press, Gateshead, United Kingdom. ISBN # 1-872811-09-04.

This groundbreaking book is a new comprehensive round of debate developed in response to the lack of research on design pedagogy. It provides thoughts, ideas, and experiments of design educators of different generations, different academic backgrounds, who are teaching and conducting research in different cultural contexts. It probes future universal visions within which the needs of future shapers of the built environment can be conceptualized and the design pedagogy that satisfies those needs can be debated. Addressing academics, practitioners, graduate students, and those who make decisions about the educational system over twenty contributors remarkably introduce analytical reflections on their positions and experience. Two invited contributions of N. John Habraken and Henry Sanoff offer visionary thoughts on their outstanding experience in design pedagogy and research.Structured in five chapters, this book introduces theoretical perspectives on design pedagogy and outlines a number of thematic issues that pertain to critical thinking and decision making; cognitive and teaching/learning styles; community, place, and service learning; and the application of digital technologies in studio teaching practices, all articulated in a conscious endeavor toward the betterment of the built environment.

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Review by Michael J. Crosbie
https://archnet.org/publications/4957

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Review by Halina Dunin-Woyseth
https://archnet.org/publications/5094

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Review by Research-Design Connections
https://researchdesignconnections.com/pub/design-studio-pedagogy-horizons-future

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Review by Julia W. Robinson
https://archnet.org/publications/5095

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Review by Nikos Salingaros https://architectureurbanism.blogspot.co.uk/2007/09/salingaros-review-of-design-studio.html

El texto propone tratar de describir el Taller como estrategia
y como técnica de la didáctica en el sentido de
vincular diversos tipos de posibilidades de presentación
de contenidos y de desarrollo de capacidades de Diseño.
Valorar sus logros y sus limitaciones a nivel de desarrollo
de destrezas como las relacionadas con exploración,
representación y fabricación, donde ha tenido un gran
éxito esta técnica. En cuanto a conocimientos, se presenta
el problema de planeación, presentación y fijación de
contenidos, al parecer algunas veces, no fundamentan la
formación académica. Por último, las habilidades cognitivas
en aspectos de competencias como estructuración
de problemas, solución, negociación y otros más, las
investigaciones han prestado algún interés en monitorear
estos procesos, más bien tiende a prestar importancia a
los resultados.

Humans are fundamentally designers – humans create artifacts, shelters, communities, and landscapes. Design is a complicated process and involves conceiving, representing, and executing constructions across a wide range of scales. Various methods and approaches to design have been theorized over the last several decades resulting in a wide range of design process diagrams and strategies. The task outlined here was to develop a tool to help structure the ongoing decision-making that is part of any design process, to present a comprehensive range of topics that designers should consider as they evolve a scheme. To this end we are introducing the Diagram as a working tool that frames a broad range of spatial, ecological, cultural, and material factors; it is designed to play a key role as a teaching tool primarily within design studios.