Although successful integration of technology into classrooms has proven beneficial to the learning process, little is yet known about how teachers respond to the introduction of technology and why some choose to use it while others do not. Using Sandoltz' stages of teacher technology adoption as a framework, this multiple case study utilized historical data that captured the experiences of teachers in 2001--2002 to determine the process of teachers' adoption of innovations into existing classroom practices. Participants included a purposive sample of eight 5th- and 6th-grade teachers from 3 schools. Data sources included teacher interviews, classroom observations, and video recordings of classroom practices for each teacher. Analysis included deconstruction by research question to identify patterns and emerging themes. The findings in this study showed that the voluntary nature of participation in technology integration activities contributed to students' success. It also indicated that teachers who received on-going grant support had greater success integrating technology into instructional practices. This study contributes to positive change by providing a tool that can be used by policy makers and staff developers to better improve the adoption of current and future technological innovations where resistance may occur.

This thesis focuses specifically on what was taught in schools in South Australia in the context of art and design education. The period covered by the study extends from the 1880s, when a Central Educational Authority was established in South Australia, to the late 1920s, when significant changes to art and design philosophies and course designs became identifiable. The nature and content of the art and design courses designed and used in South Australia is examined against an historical background of influences such as the South Kensington System of drawing and that devised by Walter Smith for the Massachusetts educational system in the United States of America. The significant contribution of Harry Pelling Gill to the teaching of art and design in schools is closely examined. It is posited that his single influence affected the teaching of art and design in South Australian schools until well into the twentieth century. The process of the study looks in detail at the overall philosophies behind the teaching of art and design, the methodologies employed and the classroom practice which pupils and teachers undertook in the pursuit of courses outlined. Issues such as methods of teacher training, correspondence courses, examinations and exhibitions are considered as these relate to the central theme of the study. The study concludes in the late 1920s, with the advent of a revised course of instruction for public elementary schools, which heralded significant changes in both the content and methodology of art and design teaching in South Australian schools.

Housing projects assigned in architecture design studio are considered as an exercise having several pedagogical objectives which constitute a suitable ground of maturation for students after completing their first and second year design studio. The aim of the research is to make an overview of the way housing design projects are conducted in the third year architectural design studio at the Middle East Technical University Department of Architecture, focusing on the last five years in particular. But in the first place, the background of housing assignments is reviewed in order to understand how teaching methods and problem definitions have evolved in the past. The objectives and the learning outcomes expected from these studio exercises, the approaches and tendencies that determine the way the project exercises are examined and lastly the teaching methods, strategies and tools are studied depending on the written and visual documents related to the studio works and interviews with the studio critics.

The design of an aerospace vehicle system is a complex integration process driven by technological developments, stakeholder and mission needs, cost, and schedule. The vehicle then operates in an equally complex context, dependent on many aspects of the environment, the performance of stakeholders and the quality of the design itself. Satisfying the needs of all stakeholders is a complicated challenge for designers and engineers, and stakeholder requirements are, at times, neglected in design decisions. Thus, it is critical to examine how to better incorporate stakeholder requirements earlier and throughout the design process. The intent of this research is to (1) examine how stakeholder considerations are currently integrated into aerospace vehicle design practice and curricula, (2) design empirically-informed and theoretically-grounded educational interventions for an aerospace design capstone course, and (3) isolate the characteristics of the interventions and learning environment which support students’ integration of stakeholder considerations. The first research phase identified how stakeholder considerations are taken into account within an aerospace vehicle design firm and in current aerospace engineering design curricula. Interviews with aerospace designers revealed six conditions at the group, interaction and individual levels affecting the integration of stakeholder considerations. Examining current curricula, aerospace design education relies on quantitative measures. Thus, many students are not introduced to stakeholder considerations that are challenging to quantify. In addition, at the start of an aerospace engineering senior design capstone course, students were found to have some understanding of the customer and a few contextual considerations, but in general students did not see the impact of the broader context or of stakeholders outside of the customer. The second research phase comprised the design and evaluation of a Requirements Lab and Stakeholders in Design Labs, two in-class interventions implemented in a senior aircraft design capstone course. Further, a Stakeholders in Design rubric was developed to evaluate students’ design understanding and integration of stakeholder considerations and, as such, can be used as a summative assessment tool. The two interventions were evaluated using a multi-level framework to examine student capstone design projects, a written evaluation, and observations of students’ design team meetings. The findings demonstrated an increase in students’ awareness of a diverse group of stakeholders, but also perceptions that students appeared to only integrate stakeholder considerations in cases where interactions with stakeholders were possible and the design requirements had an explicit stakeholder focus. Particular aspects of the aircraft design learning environment such as the lack of explicit stakeholder requirements, the differences between the learning environment in the two semesters of the course, and the availability of tools impacted students’ integration of stakeholder considerations and overall effectiveness of the interventions. This research serves as a starting point for future research in pedagogical techniques and assessment methods for integrating stakeholder requirements into technology-focused design capstone courses. The results can also inform the vehicle design education of students and engineers from other disciplines.

This licentiate thesis is based on visual art didactics and the school subject visual art, but focuses on the design process in a college design education. The aim is to explore and understand the innovative and exploratory learning processes and the importance of visual mediation in this context. With a phenomenological approach the study focuses on design students experiences in this context. These experiences are made subject on reflection and formulation, through phenomenology and visual semiotics. The empirical materal of the study consists of interviews and sketches and images collected from student workbooks. The results of the study show that the design process does not occur by itself among the students. It must be learned. The need for learning probably also applies to the processes of creative learning in other fields. Furthermore, the results indicate that the process is best understood and appropriated in pragmatic learning situations. Three kinds of visual representations of the basic aims of process work are identified in the analysis: images for communicative purposes, images for reference and discussion purposes and images as a support for one's own thinking. From the perspective of visual art dididactics the results of the study reveals four important dimensions, wich may be of relevance as a fundamental didactic structure in efforts to promote understanding of a practice-oriented learning in context of visual mediations. Together with a split vision guiding principles, existing premises and action-based learning processes may provide a supporting unit in this structure. Based on the results, it seems important that pupils and students have the opportunity to learn to master and appropriate the creative process in order to use it in an investigative purpose. Considering the structure of the process, a didactic model can facilitate learning and at the same time provide a valuable complement to the subjective approach of inspiration in the aestetic learning process. In summary, the results of the study indicate that the fields of design and didactics are related to each other and that the field of design training can bring knowledge and experience of exploration and creative learning processes to the school subject visual art.

abstract: This dissertation examines the conditions that foster or hinder success of university-based community design centers (CDCs) in the United States. Little is known about the normative underpinnings of CDCs, how successful these centers have been, which factors have contributed to or impeded their success, and how they have responded to the changes in social, political, professional and economic contexts. Adopting Giddens' theory of structuration as a research framework, this study examined CDCs via a mixed-methods sequential research design: a cross-sectional survey of CDCs on current definitions of success and metrics in use; and in-depth interviews to document the centers' histories of change or stasis, and how these changes influenced their successes. The findings of the first phase were utilized to develop a comprehensive success model for current CDCs that comprise measures related to organizational impacts, activities, and capacities. In the multiple case study analysis, four major rationales were identified: universities for public service, pragmatist learning theories, civic professionalism, and social change. These four rationales were evident in all of the studied cases at varying degrees. Using the concept of permeability, the study also exemplified how the processes of CDCs had transformative impacts in institutional, societal, and personal contexts. Multidisciplinarity has also emerged as a theme for the current organizational transformations of CDCs. The main argument that emerged from these findings is that it is not possible to identify a singular model or best practice for CDCs. The strengths and unique potentials of CDCs depend on the alternative rationales, involved agencies, and their social, political and spatial contexts. However, capitalizing on the distinctive attributes of the institutional context (i.e. the university), I consider some possibilities for university-based CDCs with an interdisciplinary structure, pushing the professional, curricular, and institutional boundaries, and striving for systemic change and social justice. In addition to contributing to the theoretical knowledge base, the findings provide useful information to various CDCs across the country, particularly today as they struggle with financial constraints while the community needs they provide are increasingly in demand. Since CDCs have a long history of community service and engagement, the findings can inform other university-community partnerships. / Dissertation/Thesis / Ph.D. Environmental Design and Planning 2011

As disciplinas de projeto requerem uma grande variedade de conhecimentos para sua realização. Para atender às necessidades didático-pedagógicas do ensino de projeto de produto, o processo de ensino-aprendizagem deve contar com material educacional capaz de fornecer ao aluno todas as informações necessárias para o seu desenvolvimento. A utilização de objetos de aprendizagem pode facilitar o processo de produção e entrega de materiais educacionais, assim como sua reutilização e recontextualização em diferentes cenários. Tal processo é possibilitado pelo atual estágio de desenvolvimento das Tecnologias de Informação e Comunicação (TICs), que permitem fácil acesso a produtos e serviços a elas relacionados. As TICs, aliadas às teorias de design instrucional, proporcionam o surgimento de novas gerações de Ensino a Distância (EaD), que agregam conteúdos educacionais a serviços baseados na web. Tal combinação dá origem a uma modalidade híbrida de ensino, unindo ferramentas de ensino presencial e a distância (Blended Learning). Este trabalho propõe uma ferramenta para a elaboração e a disponibilização de objetos de aprendizagem generativos integrada ao sistema HyperCAL online (sistema de comunicação e distribuição de conteúdo, baseado na web, desenvolvido e utilizado pelo Departamento de Design e Expressão Gráfica da Universidade Federal do Rio Grande do Sul — DEG-UFRGS). Desta forma, estes objetos podem ser reutilizados e recontextualizados para a elaboração de materiais educacionais. Nesta ferramenta, os objetos de aprendizagem generativos são estruturas construídas em XML, baseados no conceito learning design, funcionando como uma camada de interação entre os outros tipos de objeto de aprendizagem, organizando o conteúdo a ser disponibilizado. Para fins de validação da ferramenta criada, foi proposto um protótipo de unidade de aprendizagem de Projeto de Produto. Este protótipo teve como base um leaming design elaborado a partir de Padrões Pedagógicos levantados na fundamentação teórica do presente trabalho. Estes Padrões foram analisados, selecionados e organizados dentro de uma Linguagem de Padrões construída por um grupo de professores que atuam em disciplina do DEG-UFRGS, ligadas às linguagens e práticas de projeto, através das técnicas de cardsorting e grupo focal. / Design courses require a wide range of knowledge for its realization. To meet the needs of the didactic and pedagogical teaching of industrial design, the teaching-learning process must have educational material able to provide the student with all the information necessary for their development. The use of learning objects can facilitate the process of production and delivery of educational materials and their reuse and recontextualization in different scenarios. Such process is due to the current development stage of Information and Communication Technologies (ICTs), which allow easy access to products and services related to them. ICTs, combined with instructional design theories, lead to the emergence of new generations of distance learning, which add educational content to web based services. From this combination rises a hybrid mode of education, which combines tools for face-toface and distance learning (Blended Learning). This research proposes a tool for the development and provision of generative learning objects integrated into HyperCAL online (a web-based system of communication and content distribution, developed and used by the Departamento de Design e Expressão Gráfica da Universidade Federal do Rio Grande do Sul - DEG-UFRGS). Thus, these objects can be reused and recontextualized for the development of educational materials. In this tool, the generative learning objects are structures built on XML, based on the learning design concept, running as an interaction layer between the other types of learning object, organizing the content to be available. For the validation of the tool set, a prototype unit of learning of industrial design was proposed. This prototype was based on a learning design made upon pedagogical patterns raised in the theoretical foundation of this work. These patterns were analyzed, selected and arranged in a pattern language, built by a group of teachers who work in the disciplines of the DEG-UFRGS linked to the industrial design activity, through the card sorting and focus group techniques.

Submitted by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-10-03T21:02:33Z No. of bitstreams: 1 Jose Neto de Faria.pdf: 17062766 bytes, checksum: 1659485ffb025186791c5015c7bb71f2 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-10-04T14:51:32Z (GMT) No. of bitstreams: 1 Jose Neto de Faria.pdf: 17062766 bytes, checksum: 1659485ffb025186791c5015c7bb71f2 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-10-04T14:51:51Z (GMT) No. of bitstreams: 1 Jose Neto de Faria.pdf: 17062766 bytes, checksum: 1659485ffb025186791c5015c7bb71f2 (MD5) / Made available in DSpace on 2018-10-04T14:52:04Z (GMT). No. of bitstreams: 1 Jose Neto de Faria.pdf: 17062766 bytes, checksum: 1659485ffb025186791c5015c7bb71f2 (MD5) Previous issue date: 2017-03-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This thesis tried to investigate and study the cycles of design reorganization with respect to the programs of the main design education institutions to delimit both the thinking that constitutes the cultural object and the very field of design knowledge using the philosophical categories of Gilbert Simondon. In other words the main objective of this research was to deal with the cultural object of the design field aided by the philosophical categories of Gilbert Simondon to reconstruct the forms of analysis and the understanding models needed to describe the operations and the functions of the supra-structural components of "information systems" as design cultural objects. The methodology sought to provoke the rise of different sets of explanations in order to stimulate processes of differentiation, integration and dedifferentiation capable of elucidating both the dynamic nature of the design knowledge and the renewal dynamics of the design cultural object. The thesis relevance is precisely based on the importance of characterizing and understanding the proper space and time of the becoming of design, seeking to foresee what has previously been announced in the symptoms emitted as signals by the system. It also tries to break with the reading logic of "information systems", which are based on the understanding of the aesthetic qualities of its parts rather than on the supra-structures that articulate and integrate the object constitution. However, the first impression is that the field of design is a passing territory, which reorganizes itself as the caravans pass by, so it should not be surprising that the field of design knowledge is always described through other fields of the knowledge. The focus on the surface of what is visible can not reveal the supra- structure that sustains the skin of the design object. / A presente tese buscou pesquisar e estudar os ciclos de reorganização do design em função dos currículos das principais instituições de ensino do design com o intuito de delimitar o pensamento que constitui tanto o objeto cultural quanto o próprio campo de saber do design através das categorias filosóficas de Gilbert Simondon. Assim, a pesquisa tem como principal objetivo abordar o objeto cultural do campo do design com o auxílio das categorias filosóficas de Gilbert Simondon, a fim de reconstruir as formas de análise e os modelos de compreensão necessários à descrição das operações e das funções das supraestruturas constituintes dos sistemas de informação enquanto objeto cultural do design. A metodologia buscou provocar o surgimento de conjuntos de explicações concorrentes a fim de que pudesse ser instigado o surgimento de processos de diferenciação, de integração e de desdiferenciação capazes de induzir elucidações tanto sobre a constituição dinâmica do campo de saber do design quanto da dinâmica de renovação do objeto cultural do design. A tese tem a sua relevância baseada justamente na importância de se caracterizar e compreender o espaço e o tempo próprios do devir do design, buscando antever aquilo que previamente se anuncia nos sintomas emitidos como formas de sinais pelo sistema, por tentar romper com a lógica de leitura dos sistemas de informação baseada na compreensão mais das qualidades estéticas de suas partes do que propriamente das supraestruturas articuladoras e integradoras de constituição do objeto. No entanto, a primeira impressão é de que o campo do design é um território de passagem, que conforme as caravanas passam, se reorganiza, por isso não se deve estranhar que o campo de saber do design seja sempre descrito a partir de outros campos do conhecimento. O foco na superfície do que se vê não pode revelar a supraestrutura que sustenta a pele do objeto do design.

Submitted by Viviane Lima da Cunha (viviane@biblioteca.ufpb.br) on 2016-07-18T11:12:20Z No. of bitstreams: 1 arquivototal.pdf: 5119582 bytes, checksum: 2cc562a3ca67f59ee9fbfbf94b1c3175 (MD5) / Made available in DSpace on 2016-07-18T11:12:20Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 5119582 bytes, checksum: 2cc562a3ca67f59ee9fbfbf94b1c3175 (MD5) Previous issue date: 2015-01-15 / Despite the fact that biomimicry has been widely used in the fields of design and engineering, its application methods in architectural design are not yet clear, especially in the architectural design education. The transfer of a concept or mechanism of a living organism for non-living systems is not a trivial task and requires knowledge between two domains, the biological and the design. The BioTRIZ, a systematic method and especially developed based on biological phenomena, does not require deep understanding about natural organisms. This study aimed at verifying the adequability of BioTRIZ method in the application of biomimetic concepts in atelier design teaching in the early periods of the architecture program. Exploratory case studies was used through design exercises in models atelier classes with the 3rd semester students of the Architecture and Urban Planning Program of the Federal University of Paraiba. The work proceedings were divided into eight steps: variables definition, pilot studies, teams training, data collection in design exercises with application of BioTRIZ method, questionnaires, focus groups sessions, data analysis and results discussion. It was concluded that BioTRIZ method was not entirely suitable for design education in models atelier, due to the limited design repertoire of students, the difficulties in avoiding fixation on predefined ideas and limitations in the ability to transform specific features in abstract ones and vice versa, all those being requirements for effective use of BioTRIZ method. / Apesar de a biomimética ser bastante utilizada nos campos do design e da engenharia, os seus métodos de aplicação no projeto arquitetônico ainda não são claros, sobretudo no ensino de projeto. A transferência de um conceito ou mecanismo de um organismo vivo para sistemas não vivos não é uma tarefa trivial e requer conhecimento entre dois domínios, o biológico e o de design. O BioTRIZ, método sistemático e especialmente desenvolvido com base em fenômenos biológicos, dispensa conhecimento profundo sobre organismos naturais. O presente trabalho teve como objetivo principal verificar a adequabilidade do método BioTRIZ na aplicação de conceitos biomiméticos no ensino de projeto em ateliês nos períodos iniciais do curso de Arquitetura. Utilizou-se de estudos de caso de caráter exploratório por meio de exercícios de projeto em ateliê de plástica com turmas do 3º período do curso de Arquitetura e Urbanismo da Universidade Federal da Paraíba. O trabalho foi dividido em oito etapas: definição das variáveis, estudos piloto, treinamento das equipes, coleta de dados em exercícios de projeto com aplicação do método BioTRIZ, aplicação de questionário, execução de grupos focais, análise de dados e discussão dos resultados. Concluiu-se que o método BioTRIZ não se mostrou totalmente adequado ao ensino de projeto em ateliês de plástica, devido ao limitado repertório projetual dos alunos, às dificuldades em evitar fixação em ideias predefinidas e às limitações na capacidade de transformar características específicas em abstratas e vice-versa, requisitos necessários para o eficaz emprego do método.

Thesis submitted in fulfilment of the requirements for the degree Doctor of Technology: Design in the Faculty of Informatics and Design at the Cape Peninsula University of Technology, 2012 / The aim of the research is to explore design education and designing as social practice; working with and for others to inform a more sustainable and meaningful future. Ways in which the lived experience of participants in the discipline of design, in the culturally diverse university and community contexts can be harnessed for social benefit, are interrogated. Themes are explored around the value of different world views and forms of knowing in design education to inform design research, in order to extend the knowledge paradigm to include lived experience not only as site of knowledge formation, but also of wisdom acquisition. The thesis presents an amalgamation of professional practice, creative practice and narrative set in qualitative research methods appropriate to the designer and artist who desire to work with lived experience in the academic context. Lived experience informs all we do and each educational event and encounter ought to be appraised and responded to in a contextually sensitive way. An important aspect flowing from this amalgamation is the recognition and analysis of the coexisting relationships of the roles inhering in the educator and the student. In order to immerse oneself in research and teaching, all aspects of the process have to be lived and filtered through the senses. This implies resisting abstractions by grounding research, teaching, design and making in the experience of the moment. The original contribution of this research then, is the synthesis of design, art and narrative writing that accompanied in a parallel line, the academic writing process to culminate in this design folio — a testament to grounding the research project in practice. Pedagogical approaches and lived experience embodied as recontextualised expressions in design teaching, supervision and creative practice, are presented in the folio. The boundaries of qualitative methods were tested with narrative and life writing, autoethnography, poetry, studio observations, extensive journalling, drawing, photography and printmaking processes. The results showed that a phenomenology of the senses in creative work, and locating the designer in her or his biography, is where original and imaginative design resides. Social and cultural aspects are some of the foundation stones of design education and ought to be informants of the creative process until the finish. Furthermore, authentic openness is required in supervision and teaching to facilitate deep listening, interpretation, intuition and “in-seeing” in educational encounters. Finally, being an active creative practitioner in design teaching is as important if not more important than content knowledge in that discipline, since the active practitioner “becomes” the Other through the collective dimension of design work.