This statement gives an overall summary of the aims and achievements of the research work and scholarship carried out by the author during her time at The University of Manchester (and UMIST - now part of The University of Manchester) for which the publications presented give evidence. The research has been about exploring the design process, the activities and issues, and elements involved - from both an industry and student point of view. The publications explore design pedagogy, the skills required by designers and how these might fit into a curriculum for design today.In three parts it summarises the publications presented, reviews the main aspects of design and the current state of knowledge and research in design and summarises the core aspects as distilled from over 36 years practice, research and scholarship.The driver for much of the research undertaken has been to gain a better understanding of the core aspects of design - what key knowledge and skills are required by designers to allow the consistent design of better products and services which enhance the experiences of users. The work presented investigates design and design methods: the activities and processes and the elements involved. It considers responses to designs, the emotional aspect of design - why some designs are preferred over others, why some colour combinations are more desirable, and why repetition is so important to the human psyche. Underpinning the work presented are three research questions. • Are design rules and processes generic for whatever is being designed? • Can a better understanding of design theory and the emotional response to designs ensure a more effective process and thus lead to stronger designs? • Can students be educated to be better design thinkers and ultimately better designers? It concludes that: • 'design' is a process; • design is a problem-solving process and problem-solving is a design process; • for the most effective outcomes a creative and structured approach is required; • this process is based on generic rules and principles which are applicable across all discipline areas; • collaborative/cross disciplinary elements reinforce the concept that there are processes involved that are not unique to individuals or discipline specific; • a greater understanding of the process is of benefit to all individuals and organisations; • any design/problem solving activity will normally result in more than one solution option. The results of the research have informed the author's teaching practice and have been disseminated through publications to benefit the wider education arena. The work presented aims to inform students and design education practitioners.

No description available.

Consideration of sustainability in product and industrial design courses is becoming more common and relevant within higher education in the UK. However little is known about how widespread the teaching is and what is actually understood as sustainable design with discrepancies in the definitions used in different institutions. Literature highlights that many universities now engage with the tangible environmental aspects of sustainable design, whilst the intangible social aspects are left unaddressed. This thesis explores methods for encouraging and enabling students to address the social aspects within sustainable product design (SPD) education. The first research stage presents the results of a nationwide survey, which investigated how widely SPD is taught, which social aspects are addressed, how SPD is taught and assessed and the attitudes and awareness of it amongst academics. The second research stage presents further research into best practice in SPD through detailed interviews with leading academics in the field. A third research stage built upon the findings from both these studies, and sought to address a perceived weakness in SPD education; the lack of understanding and consideration of the social aspects in sustainable product design in teaching and project outcomes. Three Rethinking Design workshops were developed and tested at five universities in the UK and Ireland. These workshops were designed to introduce students to the wider social aspects of SPD, through the use of audio visual group based workshops. The design of the workshops enabled a learning environment where a deep understanding of the social aspects of Sustainable Product Design could be developed through; group work, discussion and critical reflection, which led to students exploring design thinking responses, suggesting that deep learning, had occurred.

The UK government, under the Primary Capital Programme, is planning to rebuild or refurbish approximately half of all primary schools by 2022/23. The aim is to create primary schools that are equipped for 21st century teaching and learning. Around £7 billion will be invested in the scheme with £1.9 billion of the budget being spent 2008-11, £650 million for all local authorities in 2009-10 and £1.1 billion in 2010-11. However, this substantial investment will only meet the target of providing a 21st century educational environment, with opportunities for exemplary teaching and learning, if the design of new and refurbished schools is fit for this purpose. The research set out to answer the question ‘How can all user groups be involved in the evaluation of newly built primary schools?’ This question was addressed by achieving the aim of developing a post-occupancy evaluation toolkit specifically for primary schools which accounted for the views of all stakeholders. The research focussed on primary schools in the city of Coventry in the UK West Midlands and was conducted in two phases: an examination of schools built before the introduction of a model brief in 1996 and an evaluation of schools that were built using its guidance. The findings from the initial case studies indicated issues to be addressed in the design of the toolkit. Following the initial case studies in pre-1996 schools, the research focussed on five recently built primary schools that were constructed according to the guidelines contained in Coventry’s model brief. At the time of commencing the research, six primary schools had been built using this framework. However, there had been no attempt to evaluate the schools to establish whether they met the needs of all stakeholders. The post-occupancy evaluation toolkit that was developed took a multi-stakeholder perspective on primary school builds and resulted in findings which indicate the variability in responses between different stakeholder groups and schools. The research concluded that the post-occupancy toolkit can provide information on school buildings, from a multi-stakeholder perspective, which may be useful architects and designers. It also proposes an approach to primary school design which accounts for the variability in the needs of diverse stakeholder groups and the individuality of each school, including their geographical location.

Made available in DSpace on 2016-04-25T20:21:01Z (GMT). No. of bitstreams: 1 Ana Claudia Berwanger.pdf: 26059274 bytes, checksum: 6d0d91a9d8953af0ca2abe240c7a0d64 (MD5) Previous issue date: 2013-06-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis presents a panoramic view of the process of formation of the Brazilian institutional system that was built around the notions and practices called "industrial design" and "design". It also presents an interpretation of the disputes held specifically in the academic field of design, in its current configuration, while trying to understand the different requirements articu-lated, in that area, for the specific rarity of such practice. The text is divided in two parts of which the first one is dedicated to present the main institutions and formative events in the field, from the foundation of the Institute of Contemporary Arts of the Sao Paulo Art Museum (1951) to the end of the first decade of the years 2000, going through the quarrels that happened in the first schools (ESDI and FAU-USP), the creation of the first professional associations (ABDI and APDINS), the downfall of the name "industrial design" and the rise of the name "design", the dissemination of the graduation and post-graduation educational system, the growth of the student movements, the launching of several specialized publications, periodic awards and governmental incen¬tive programs, and finally the battle for professional regulation and affirmation of the speci city of this practice and its field, in regards to related practices and fields such as architecture and arts. The study in question aimed to present the essential traces of the competition between the institutions along the story of this field, and aIs o the most relevant external pressures, which contributed to determine many of its directions. The institutions were discussed in the thesis according to the view of the social world forged by the Frencl1" sociologist Pierre Bourdieu, focusing on the roles developed particularly in regards to the production of symbolic assets, the reproduction of knowledge and values related to the field, and also the public distribution and the consecration/legitimization of its agents a d practices. The first part of the thesis intends to contextualize the specific problems discussed in the second part, regarding the recommendations currently articulated in the academic field for the relations be¬tween the designer, the business world, and the demands of other nature (social, environmental, psy¬chological, etc.) In order to sustain this approach, several positions articulated the academic field were analyzed, going from the full exploitation of the design in relation to the economic world, to the concealment of such exploitation. The discussion proposed is about the strategies and possibilities of empowering the area and reassuring the specific rarity of the practices of the designer. The main conclu¬sion is that, differently from what occurred in the initial stage of the formation of this field, around the 19th century, when the designer was clearly seen as an artistic consultant serving the industry, nowa¬days its specific rarity is so comprehensive and almost nonspecific, that it may ;only be defined a "doing something well"; and this doing is extended to the engaged formulation of any interface, which allows any user or agent to realize any task through the use of any tool or system, independently of their nature. This condition creates a paradox in which the design is more autonomous the more heteronomous its concrete practices are, and the more its agents specialize in interpreting and attending to the needs and interests of each other, either those demands are economical or noto economical or not. / Esta tese apresenta uma visão panorâmica do processo de formação do sistema institucional bra-sileiro que se erigiu em torno das noções e das práticas nomeadas desenho industrial e design . Apre-senta também uma interpretação sobre as disputas travadas no campo acadêmico do design em sua atual conguração, buscando compreender quais são as diferentes prescrições formuladas, nesse âm-bito, para denir a raridade especíca dessa prática.O texto é dividido em duas partes, das quais a primeira é dedicada a apresentar as principais insti-tuições e eventos formadores do campo, desde a fundação do Instituto de Arte Contemporânea do Mu-seu de Arte de São Paulo (1951), até o nal da primeira década dos anos 2000, passando pelos embates travados nas primeiras escolas (esdi e fau-usp), pela formação das primeiras associações prossionais (abdi e apdins), pelo declínio da nomenclatura desenho industrial e ascensão da nomenclatura de-sign , pela disseminação do sistema de ensino de graduação e pós-graduação, pelo crescimento do movi-mento estudantil, pela instalação de diversas publicações especializadas, premiações periódicas e pro-gramas governamentais de fomento e, por m, pela batalha em prol da regulamentação prossional e da armação da especicidade desta prática e deste campo, em relação a práticas e campos correlatos, tais como a arquitetura e as artes. No panorama em questão, buscou-se apresentar os traços essenciais da luta concorrencial travada entre as instituições ao longo da trajetória do campo, e também as pressões externas mais relevantes, que contribuiram para determinar muitas de suas direções. As instituições foram discutidas na tese de acordo com a visão do mundo social forjada pelo sociólogo francês Pierre Bourdieu, enfocando os papéis por elas desempenhados, particularmente no que se refere à produção dos bens simbólicos, à reprodução dos saberes e valores atinentes ao campo e, por m, à difusão pública e à consagração/legitimação de seus agentes e práticas. A primeira parte da tese tem por nalidade situar a problemática especíca que é discutida na se-gunda parte, e que diz respeito às prescrições atualmente formuladas dentro do campo acadêmico para a relação entre o designer, o mundo empresarial e as demandas de outras naturezas (social, ambiental, psicológica etc.) Para sustentar este enfoque foram analisadas diversas tomadas de posição formuladas no âmbito do campo acadêmico, que oscilam entre a instrumentalização plena do design em relação ao mundo econômico, e o ocultamento dessa instrumentalidade. A discussão proposta diz respeito às estratégias e possibilidades de autonomização do campo e da armação da raridade especíca das práti-cas do designer. A principal conclusão obtida é que, diferentemente do que ocorria no estágio inicial da formação deste campo, em meados do século xix, quando o designer era claramente visto como um consultor artístico a serviço da indústria, nos dias de hoje a sua raridade especíca é tão abrangente que beira a inespecicidade, podendo ser denida apenas por um fazer bem feito , fazer este que incide sobre a formulação engajada de quaisquer interfaces, que possibilitem a quaisquer usuários e agentes a consecução de quaisquer tarefas, por meio do uso de quaisquer artefatos e sistemas, independente da natureza dos mesmos. Tal condição gera um paradoxo segundo o qual o campo do design é tanto mais autônomo quanto mais heterônomas são suas práticas concretas, e quanto mais seus agentes se espe-cializam em interpretar e atender às necessidades e interesses de um outro, sejam essas demandas de natureza econômica ou não

Made available in DSpace on 2016-04-26T14:54:23Z (GMT). No. of bitstreams: 1 Ana Claudia Berwanger.pdf: 26059274 bytes, checksum: 6d0d91a9d8953af0ca2abe240c7a0d64 (MD5) Previous issue date: 2013-06-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis presents a panoramic view of the process of formation of the Brazilian institutional system that was built around the notions and practices called "industrial design" and "design". It also presents an interpretation of the disputes held specifically in the academic field of design, in its current configuration, while trying to understand the different requirements articu-lated, in that area, for the specific rarity of such practice. The text is divided in two parts of which the first one is dedicated to present the main institutions and formative events in the field, from the foundation of the Institute of Contemporary Arts of the Sao Paulo Art Museum (1951) to the end of the first decade of the years 2000, going through the quarrels that happened in the first schools (ESDI and FAU-USP), the creation of the first professional associations (ABDI and APDINS), the downfall of the name "industrial design" and the rise of the name "design", the dissemination of the graduation and post-graduation educational system, the growth of the student movements, the launching of several specialized publications, periodic awards and governmental incen¬tive programs, and finally the battle for professional regulation and affirmation of the speci city of this practice and its field, in regards to related practices and fields such as architecture and arts. The study in question aimed to present the essential traces of the competition between the institutions along the story of this field, and aIs o the most relevant external pressures, which contributed to determine many of its directions. The institutions were discussed in the thesis according to the view of the social world forged by the Frencl1" sociologist Pierre Bourdieu, focusing on the roles developed particularly in regards to the production of symbolic assets, the reproduction of knowledge and values related to the field, and also the public distribution and the consecration/legitimization of its agents a d practices. The first part of the thesis intends to contextualize the specific problems discussed in the second part, regarding the recommendations currently articulated in the academic field for the relations be¬tween the designer, the business world, and the demands of other nature (social, environmental, psy¬chological, etc.) In order to sustain this approach, several positions articulated the academic field were analyzed, going from the full exploitation of the design in relation to the economic world, to the concealment of such exploitation. The discussion proposed is about the strategies and possibilities of empowering the area and reassuring the specific rarity of the practices of the designer. The main conclu¬sion is that, differently from what occurred in the initial stage of the formation of this field, around the 19th century, when the designer was clearly seen as an artistic consultant serving the industry, nowa¬days its specific rarity is so comprehensive and almost nonspecific, that it may ;only be defined a "doing something well"; and this doing is extended to the engaged formulation of any interface, which allows any user or agent to realize any task through the use of any tool or system, independently of their nature. This condition creates a paradox in which the design is more autonomous the more heteronomous its concrete practices are, and the more its agents specialize in interpreting and attending to the needs and interests of each other, either those demands are economical or noto economical or not. / Esta tese apresenta uma visão panorâmica do processo de formação do sistema institucional bra-sileiro que se erigiu em torno das noções e das práticas nomeadas desenho industrial e design . Apre-senta também uma interpretação sobre as disputas travadas no campo acadêmico do design em sua atual conguração, buscando compreender quais são as diferentes prescrições formuladas, nesse âm-bito, para denir a raridade especíca dessa prática.O texto é dividido em duas partes, das quais a primeira é dedicada a apresentar as principais insti-tuições e eventos formadores do campo, desde a fundação do Instituto de Arte Contemporânea do Mu-seu de Arte de São Paulo (1951), até o nal da primeira década dos anos 2000, passando pelos embates travados nas primeiras escolas (esdi e fau-usp), pela formação das primeiras associações prossionais (abdi e apdins), pelo declínio da nomenclatura desenho industrial e ascensão da nomenclatura de-sign , pela disseminação do sistema de ensino de graduação e pós-graduação, pelo crescimento do movi-mento estudantil, pela instalação de diversas publicações especializadas, premiações periódicas e pro-gramas governamentais de fomento e, por m, pela batalha em prol da regulamentação prossional e da armação da especicidade desta prática e deste campo, em relação a práticas e campos correlatos, tais como a arquitetura e as artes. No panorama em questão, buscou-se apresentar os traços essenciais da luta concorrencial travada entre as instituições ao longo da trajetória do campo, e também as pressões externas mais relevantes, que contribuiram para determinar muitas de suas direções. As instituições foram discutidas na tese de acordo com a visão do mundo social forjada pelo sociólogo francês Pierre Bourdieu, enfocando os papéis por elas desempenhados, particularmente no que se refere à produção dos bens simbólicos, à reprodução dos saberes e valores atinentes ao campo e, por m, à difusão pública e à consagração/legitimação de seus agentes e práticas. A primeira parte da tese tem por nalidade situar a problemática especíca que é discutida na se-gunda parte, e que diz respeito às prescrições atualmente formuladas dentro do campo acadêmico para a relação entre o designer, o mundo empresarial e as demandas de outras naturezas (social, ambiental, psicológica etc.) Para sustentar este enfoque foram analisadas diversas tomadas de posição formuladas no âmbito do campo acadêmico, que oscilam entre a instrumentalização plena do design em relação ao mundo econômico, e o ocultamento dessa instrumentalidade. A discussão proposta diz respeito às estratégias e possibilidades de autonomização do campo e da armação da raridade especíca das práti-cas do designer. A principal conclusão obtida é que, diferentemente do que ocorria no estágio inicial da formação deste campo, em meados do século xix, quando o designer era claramente visto como um consultor artístico a serviço da indústria, nos dias de hoje a sua raridade especíca é tão abrangente que beira a inespecicidade, podendo ser denida apenas por um fazer bem feito , fazer este que incide sobre a formulação engajada de quaisquer interfaces, que possibilitem a quaisquer usuários e agentes a consecução de quaisquer tarefas, por meio do uso de quaisquer artefatos e sistemas, independente da natureza dos mesmos. Tal condição gera um paradoxo segundo o qual o campo do design é tanto mais autônomo quanto mais heterônomas são suas práticas concretas, e quanto mais seus agentes se espe-cializam em interpretar e atender às necessidades e interesses de um outro, sejam essas demandas de natureza econômica ou não

The notion of sustainability has become an extensive area of research ever since the term emerged in the late 1980s, due to the negative effects of unsustainable production and consumption patterns on environmental stewardship, social equity and economic development. There have been various approaches developed for product design and education within the context sustainability. Biomimicry is one of those approaches, and its implications for product design education have recently started to be explored. In this study, an educational tool - Biomimicry Sketch Analysis (BSA) - was developed and integrated into the idea-generation phase of an educational design project at the undergraduate level in the Department of Industrial Design at the Middle East Technical University (METU). This integration is analyzed throughout the graduate thesis study, to understand and explore the implications of the biomimicry approach for sustainability in product design education. The educational tool within this approach was found as influential among the third year industrial design students for the idea-generation phase, yet the results of this study included both pros and cons for the incorporation of the BSA exercise.

Considering the continuous design activities that are performed throughout the design projects, design students go through several stages of decision makings, and sometimes they experience problematic situations in between consecutive supervisory meetings. Revealing all experiences during the discussions with supervisors, thus communicating the ideas could be sometimes difficult. In order to provide a better guidance, it is also important for supervisors to understand students&rsquo / process in between these meetings. There are available tools used in the fields like education or health in order to monitor an individual&rsquo / s daily life in relation to the context (e.g. time, place, activity) and personal circumstances (e.g. emotions, feelings, ideas). These tools are developed based on experience sampling method (ESM), a research method focus on collecting self-reported data from participants in order to measure their daily life experiences, especially during a long period of time. Since the target group and experience has different characteristics for each context, design of experience sampling tools are also gaining importance to address these specific experience according to individuals&rsquo / needs and expectations. Aiming at assisting design students to do regular self-reporting on their experiences, this study presents a background research for designing experience sampling tools that would be used by students and supervisors to keep track of students&rsquo / experiences throughout design projects. In this sense, this study intends assisting students self-reporting activities, translate the main design requirements of experience sampling tools into the context of design projects, as well as revealing guidelines for the future implications of ESM tools in design education

Problems that the earth has faced with such as the depletion of natural resources, contamination of water, air and land, extension of species, and the global warming have brought up the sustainable development to the agenda. This state of affairs has elicited the undeniable role of industrial design activity on the sustainable development / sustainability has become an important concern of industrial design education. The purpose of this study is to determine the state of sustainable design education in the undergraduate industrial design programs in Turkey &ndash / especially in the Department of Industrial Design at Middle East Technical University (METU) &ndash / by exploring the relation between industrial design education and the concept of sustainability with regard to the examples from all around the world. With reference to the arguments collected by the literature review study and findings of the field study about the opinions of industrial design students and educators, suggestions will be made on how sustainability can be integrated in the curricula of the undergraduate industrial design programs in Turkey.

Design juries are one of the assessment practices that enable evaluation and criticism of students&rsquo / projects in studio based courses. This study explores the aims and attributes of design juries from students&rsquo / and jurors&rsquo / perspectives. The thesis is constructed upon a field study which consists of an observational study on design juries, a focus group study with students and interviews with the jurors of METU Department of Industrial Design. The findings of the field study indicate that design juries in their current form exhibit several issues to discuss / delivery of comments to students, duration of discussions, organization of the jury and assessment criteria are important factors to consider in design juries.