As models and methods of educational pedagogy are altered by social media and digital technology, so too are the spaces where learning takes place. Creative education, particularly the education of design students, does not fit into the “typical” higher education classroom, and therefore requires a different physical setting. Despite changes in learning styles, there are many unchanged traditions and functions of the physical setting of design education. The lack of changes has continued to isolate architectural education from the real, urban experience of the city. This practicum aims to address these issues by proposing a satellite campus in an authentic urban environment for the University of Manitoba’s Faculty of Architecture students and teachers. I will investigate theories regarding emerging trends in higher education, the importance of place in education, and the process of educating designers. Throughout this investigation, emphasis is placed on creativity, collaboration, and flexibility in design education.

For many years, and particularly since the 1980s, the state has taken an interest in the curriculum of state-funded secondary schools. This interest has focused largely on utilitarian imperatives for employment and economic sustainability. A consequence of this utilitarian conception of state education is that art viewed, as a less useful subject within the curriculum, is threatened by this. Against an historic discourse about the nature of art itself and why it is taught and its value in society, the question of 'What is art'? and 'What is the role of the art teacher'? continue to defy a consensus that is useful to teachers. Concurrently, these important arguments have inevitably impinged on the practice of art teachers who find themselves distanced from cherished liberal and social imperatives, and confused about what is expected of them. This study looks at how these pervasive arguments make an impact on teachers who, although studied as artists and trained to teach art, now find themselves dubbed 'art and design' teachers as the requirements of the state and its increasingly utilitarian system exerts more control over their working lives. More than twice as many art graduates (3.4% of fine art graduates in 2016) enter teaching than design graduates (1.3% design graduates in 2016) (Logan and Prichard, 2016). A piece of qualitative research was completed with a combined sample of 23 teachers. Building on Efland's streams of influence underpinning the development of art education: Expressionist, Scientific Rationalist and Reconstructivist; and Hickman's rationales for art education: Social Utility, Personal Growth and Visual Literacy, a tentative theory is proposed and hypotheses explored. Some teachers questioned revealed sadness at a perceived reduction in time for lessons devoted to self-expression, art history, cultures, critical evaluation, experimentation, imagination, risk taking, and creativity. Some teachers felt deeply that they and their subject is misunderstood, undervalued and under threat. Many were not comfortable with a role that was at variance with the one they had been trained for. Some teachers suggested their role was no longer concerned with developing children's individual talents but had become too design-based, too predictable, too linear, and too concerned with measurable outcomes and results. Capturing the words of 23 teachers in interviews and surveys contributes to the literature and provides teachers, policy makers and future researchers with vital insights into what an art teacher is and why they teach art, and how this is at variance with National Curriculum aims. These insights are vital because the present lack of consensus about such fundamental arguments has contributed to a devaluing of art in the curriculum to a point where the future of art in state-funded secondary schools is no longer guaranteed.

The purpose of the project was to develop a webpage for each teacher at Deer Canyon Elementary School which is in Alta Loma, California. The webpages were designed to give teachers the tools to add information to their own webpages to enhance their communication with students and students' parents.

Design idea generation is a significant part of the designer’s work and most frequently associated with creative problem-solving. However, an outstanding challenge in design is translating empirical findings or other inspirational sources into ideas or knowledge that inform design, also known as generating implications for design. Though great efforts have been made to bridge this gap, there is still no overall consensus on how to appropriately incorporate research data and external sources into the design ideas generation process. Besides, design ideas generation is a process that is rooted in personal knowledge. It is often considered a precedent-based type of reasoning where knowledge is continuously transformed to frame new insights and this creative leap across the divide is perceived to be difficult, especially for novice and student designers. Based on the grounded theory, the author conducted open-ended, semi-structured qualitative interviews with eighteen designers, including design professors, practitioners and students to learn about the knowledge on how the contemporary designers select inspirational sources and transform them into ideas with appropriate methods in different contexts, the design mindset involved during the iterative and generative ideation process, and the criteria of evaluating design ideas. The results indicated seven commonly used categories of sources: ‘personal,’ ‘daily stuff,’ ’media,’ ‘technology,’ ‘knowledge of other disciplines,’ ‘fieldwork’ and ‘design practice.’ The methods could be allocated to three stages: investigation, analysis and synthesis. In each specific phase, designers applied different methods to cope with various sources for various purposes, depending on different situations. A general framework was built for designers to conduct a proper selection of sources and methods to transform them into the knowledge that informs design. The study emphasized the flow of inspirational sources, the relationship between sources and methods, and the transformation procedures which tried to help the designer get more scientific structure and give design students more practical guidance in idea generation. The comparison was continuously made within the matrix structure on the matter of sources and methods selection, the role of design research and ideation process among different groups of designers in academics and practice, which revealed the knowledge and skills missed or ignored in university education and challenges in the design project development. The implications for design education were discussed, such as the development of design students’ competence, especially the skills that should be learned in a new digital society to help design education refine idea generation methods and improve corresponding techniques to discover a dynamic balance between theory and practice. / Das Hervorbringen von Designideen ist ein wichtiger Teil der Arbeit eines Designers und wird meistens mit kreativer Problemlösung assoziiert. Eine besondere Herausforderung ist dabei die mentale Verarbeitung von Informationen und Inspirationsquellen und deren Umsetzung zu Gestaltungsentwürfe. Dieser kreative Prozess wird vor allem von Anfängern und Designstudenten als schwierig wahrgenommen. Trotz vielfältiger Forschungsanstrengungen gibt es noch immer keinen allgemeinen Konsens dazu, auf welche Weise Informationen in den Designprozess einbezogen werden und wie sich diese präzedenzbasierte Art des Denkens vermitteln lässt. Da dieser Prozess stark auf Erfahrung basiert, wird er oft als Präzedenz-basierte Art des Denkens betrachtet, bei welcher Wissen fortwährend in neue Erkenntnisse umgeformt wird. Dieser kreative Akt wird vor allem von Anfängern als schwierig wahrgenommen. Dem Paradigma der 'grounded theory' folgend hat die Autorin ergebnisoffene, teilstrukturierte und qualitative Interviews mit Designern durchgeführt. Interviewt wurden Designprofessoren, Praktiker und Studenten, um zu erfahren, wie zeitgenössische Designer Inspirationsquellen recherchieren und mit welchen Methoden sie diese in unterschiedlichen Kontexten zu Ideen umwandeln. Weiterhin werden die Vorgehensweise der Designer während des Gestaltungsprozesses und die Evaluationskriterien der Designideen untersucht. Anhand der Untersuchungsergebnisse lassen sich sieben Informationskategorien unterscheiden: Persönliches, alltägliches, mediales, technologisches Wissen sowie Wissen aus anderen Fachbereichen, aus Feldforschung und aus der Designpraxis. Diese Methoden finden im Designprozess innerhalb von drei Phasen Anwendung: Untersuchung, Analyse und Synthese. In jeder dieser Phase wenden Designer dabei verschiedene Methoden an, um Informationsquellen aufzubereiten und in den Designprozess einzubeziehen. Ausgehend von einem Prozessmodell untersuchte die durchgeführte Studie insbesondere die Einbeziehung von Inspirationsquellen, die Beziehung zwischen Quellen und Methoden und die mentalen Verarbeitungsprozeduren. Mit den erzielten Ergebnissen unterstützt die Untersuchung die Designforschung und gibt Designstudenten eine fundierte Anleitung für die Entwicklung von Ideen. Ein besonderer Fokus der Studie lag auf dem Vergleich von verschiedenen Gruppen von Designern – insbesondere auch mit Blick auf den Unterschied zwischen tären Ausbildung vermittelten Kompetenzen mit den praktischen Anforderungen korrespondieren. Darauf aufbauend diskutiert diese Arbeit Empfehlungen für die Designausbildung, z.B. hinsichtlich des Kontexts der digitalen Gesellschaft oder der Verfeinerung von Methoden der Ideengenerierung. Damit soll die Arbeit dazu beitragen, die Designausbildung zu verbessern und ein dynamisches Gleichgewicht zwischen Theorie und Praxis zu ermöglichen.

Critique, or "crit," is a central feature of instruction in art and design programs. Critique is an event in which students present their work and receive feedback from faculty, visiting professionals, and their classmates. Critique can be formative or summative. In formative critiques, the instructor intervenes in the creative process, reviews drafts of work, and makes recommendations for revision. In summative crits, the instructor evaluates a finished product for a grade. The goal of a summative critique is to evaluate and rate the quality of student work. However, success is not necessarily determined by student work alone. Critique also requires mastery of a number of communication and cultural competencies. Crits can be challenging for students of all cultural backgrounds but may be especially difficult for international students who are adapting to a new culture and academic environment. This study examined the difficulties that some Japanese students experience in summative crits often due to cultural differences and language problems. The purpose of this study was to investigate challenges experienced by Japanese international students and identify types of support that Japanese international students may need in order to be successful in crits. This study had three goals: (1) provide Japanese students with recommendations for success in crits; (2) help faculty learn international perspectives and contribute to their cultural sensitivity in the classroom; and (3) encourage greater institutional support for international students at American design schools. This research aims to contribute to a better understanding of the challenges and needs of international students in the U.S. design classroom.

No description available.

Seit Paul Crutzens Intervention auf der Jahrestagung des IGBP im Jahr 2000 hat das menschliche Wirken einen prägnanten Namen: Mit dem Begriff ‚Anthropozän‘ hat sich sprachlich manifestiert, was sich wissenschaftlich messen lässt. Der Mensch – oder eher Teile der Menschheit, weshalb auch andere Begriffe wie Capitalocene oder Plantationocene (Davis et al., 2019) diskutiert werden, um die Verknüpfung zu Kolonialismus, Kapitalismus und ‚racial hierarchies‘ aufzuzeigen – hat als ‚geologische Kraft‘ (Crutzen & Stoermer, 2000) das Klima auf der Erde geprägt (oder gestaltet?) – und auch wenn wir die Dimensionen dieses Einflusses vielleicht noch nicht vollumfänglich begreifen können, so ist die drohende klimatische Katastrophe im Begriff, real zu werden.

No description available.

[pt] A presente pesquisa tem como tema as perspectivas docentes sobre o corpo como estrutura de significação em processos de construção de sentidos em situações de ensino-aprendizagem do ensino superior em Design da Pontifícia Universidade Católica do Rio de Janeiro. Entendendo o Design como fenômeno de comunicação e linguagem, de cunho multimodal e multissensorial; como práxis contextualmente situada de produção de sentidos, partimos do pressuposto que os processos formativos em Design demandam a estruturação de práticas pedagógicas com ênfase na percepção, análise e reflexão sobre os sentidos implicados em sua produção em abordagem incorporada - o conhecimento corporificado e territorializado (Merleau-Ponty, 1999; Maturana, 2002[1998]). Contrapõe-se a isto a problemática do corpo enquanto construtor de sentidos em contextos da educação formal, caracterizado pela natureza marginal e acessória de sua presença nos processos de aprendizagem (Rufino, 2013; Kastrup, 2001; Freire, 2018; hooks, 2013). Somam-se a este complexo os efeitos do confinamento e virtualização da vida e educação nos anos da Pandemia Covid-19. Diante deste quadro, o objetivo desta pesquisa é investigar os sentidos negociados sobre o corpo por sujeitos implicados nas práticas formativas do ensino superior em Design. Assumindo a cartografia (Deleuze; Guattari, 1997; Passos; Kastrup; Escóssia, 2009) como postura epistemológica e abordagem teórico-metodológica, o presente trabalho se desenvolve pelo fazer-emergir das perspectivas e gestos pedagógicos sobre o corpo no contexto de pesquisa, a partir de observação participante e entrevistas com docentes de instituições de ensino superior em Design. Tomamos como objetos as práticas de sala de aula e discursos docentes. A partir destes, buscamos explicitar posições e leituras de mundo heterogêneas sobre as formas de fazer e aprender no campo do Design - não para solucionar o problema-corpo no Ensino no momento em que a pesquisa se desenvolve, mas para inventar e formular problemas sobre o corpo, que permitam a comunidade pedagógica traçar estratégias de reposicionamento do corpo na práxis educativa em Design. / [en] This thesis addresses the teaching perspectives on the body as a significant structure of significance in processes of meaning-making in teaching-learning situations of Higher Design Education at the Pontifical Catholic University of Rio de Janeiro. Understanding design as a phenomenon of communication and language, multimodal and multisensory, and as a contextually situated practice of the production of senses, we start from the assumption that the formative processes in design require the structuring of pedagogical practices with emphasis on perception, analysis and reflection on the senses involved in their production in an embodied approach - the corporatized and territorialized knowledge (Merleau-Ponty, 1999; Varela, 1992; Maturana, 2002[1998]). The problem of the body as a constructor of senses in contexts of formal education, characterized by the marginal and accessory character of its presence in learning processes, is opposed to this. (Simas e Rufino, 2018; Kastrup, 2001; Freire, 2018; hooks, 2013). To this complex are added the effects of the confinement and virtualization of life and education in the years of the Covid-19 pandemic. Against this background, the aim of this study is to explore the senses negotiated in the educational practices of the design school. Drawing on cartography (Deleuze and Guattari, 1997; Passos, Kastrup and Escóssia, 2009) as an epistemological stance and theoretical-methodological approach, this paper develops from participant observation and interviews with faculty members of the institution by elaborating the perspectives and pedagogical gestures on the body in the context of research, from participating observation and interviews with faculty members of the research. We take teaching practices and teaching speeches as objects. From this we attempt to draw out heterogeneous positions and interpretations of the world about how to work and learn in design. This is not about solving the problem of the body in teaching as research develops, but about inventing and framing problems in relation to the body that enable the pedagogical community to develop strategies for repositioning the body in pedagogical practice in design.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal.