Design practice

The teacher is the decisive factor in the quality of education, the crux of the reform and innovation in modern general education. In order to improve the quality of teaching and learning to adapt to the general education program conditions and objectives, it is necessary to "change" the view, the look and the method to achieve positive and appropriate results in teaching and learning of Fine Art Education. The harmonious combination of theory and practice is a necessary and sufficient condition to help students, lecturers, and art teachers stand firm with their career, so that they are proud and aware of their self-esteem and professional values.

Background and Objectives: There is a lack of understanding of how older adults’ involvement and participation matters in actual design practice. This systematic literature review investigates existing empirical studies involving older users during the design of technologies and explores the nature and consequences of involving older people. Research Design and Methods: Our literature review is informed by the guidelines of the PRISMA statement. We examined the included studies by means of thematic content analysis to identify the nature of older users’ involvement and existing evidence on what consequences it has. Results: In total, 40 empirical studies published in the period 2014–2018 are included in the review. Most empirical studies involve older people from local networks, with underlying stereotypical images and at lower levels of participation. The results reveal three main consequences of involving older users: learning, adjusted design, and an increased sense of participat...

As the need for Human Computer Interaction (HCI) designers increases so does the need for courses that best prepare students for their future work life. Multidisciplinary teamwork is what very frequently meets the graduates in their new work situations. Preparing students for such multidisciplinary work through education is not easy to achieve. In this paper, we investigate ways to engage computer science students, majoring in design, use, and interaction (with technology), in design practices through an advanced graduate course in interaction design. Here, we take a closer look at how prior embodied and explicit knowledge of HCI that all of the students have, combined with understanding of design practice through the course, shape them as human-computer interaction designers. We evaluate the results of the effort in terms of increase in creativity, novelty of ideas, body language when engaged in design activities, and in terms of perceptions of how well this course prepared the stu...

Government visions of a digital future show little indication of how disabled people, reliant on access technology, will participate. Access technology has the potential to offer independent use of the Internet but many disabled people already face barriers that ...

An interdisciplinary design practice spanning the fields of spatial design, performance design and Indigenous studies, the work questions how Indigenous narratives sit in colonised spaces of theatre. As a theatrical design relating to the Aboriginal experiences of Country and contemporary Indigenous identities, it addresses themes such as Indigenous women’s worldviews, ongoing effects of colonisation, and intergenerational women’s business. Other influential practitioners in this field include Jacob Nash, head designer for Bangarra Dance Theatre.

The work includes set and costume design and construction for Winyanboga Yurringa, a play set in Yorta Yorta Country. Written and directed by Andrea James, it features six Aboriginal women camping on Country, reconnecting with the land and each other, and finding resilience and strength in doing so.

As a female Indigenous designer working with a primarily Indigenous cast and crew, the project challenges whether the enduring relationships Indigenous people have with Country can be designed into a colonised theatrical setting in both a culturally and aesthetically respectful way. Incorporating installation art and spatial design with Indigenous methodological approaches, the design features stylised shell shapes in abstracted sculptural forms, such as those that might be found in middens indicating thousands of years of Indigenous inhabitation to create the forest that surrounds the campground.

Staged at Carriageworks, 3-6 August 2016, travelling to Geelong Performing Arts Centre, 17-20 August 2016, the project was featured on ABC Radio and reviewed in Real Time Arts magazine. It was supported by Carriageworks, Arts NSW, Moogahlin Performing Art Inc, Australia Council, Australian Government.

This paper assesses the appropriateness of verbal protocol analysis (VPA) as a means of analysing design activity. Design activity includes human cognitive abilities such as creativity, synthesis, and problem solving. These can vary depending on the design disciplines and design practices involved such as industrial design, engineering design, etc. In order to find out how these abilities are expressed, a study of VPA was carried out based on interviews with two researchers from different disciplines – product design and machine design – and their experiences were compared. The issues in this paper cover general reflections, positive aspects, negative aspects, evaluation (Meta-VPA), ethics and conclusions. On the basis of the results from the analysis of the interviews on VPA, it seems to be significant to carefully consider the reasons for mapping and analysing design activity and how the results may be put into practice.

Background and context The practice of design is changing. This is of course not necessarily a new phenomenon. Our work as designers has always been moulded by developments in technology and has always reflected the societal shifts and cultural values of the day. Not withstanding this, the central role of designers has remained fairly constant, being traditionally concerned with making critical judgments about the aesthetics or function of images, information, objects, products, and environments. However, the emerging paradigm increasingly positions the primary role of the designer as that of a facilitator - or orchestrator, of the diverse inputs and processes required to effectively address contemporary design problems. There is now, more than ever previously, a need to be adaptable and able to morph into team-based contexts that can be characterised as multi disciplinary, cross-cultural and online. Design education programs, and indeed the design industry itself, must move rapidly...

Our everyday life is influenced by an overproduction of images and by an iconogenic surplus that is connected to the proliferation of media. These contribute to both the quality and quantity of communication, but simultaneously amplify the knowledge gap between an audience that is able to critically process messages and another that is affected uncritically by prejudices and stereotypes. Bellino argues for a critical media education to address this gap by encouraging the development of students' critical thinking and social awareness. In this article we will discuss the results of a research-driven design project in which visual communication design students engaged with theories of cultural stereotypes and critiqued the role of media in their perpetuation. We adopted Kolb's model of experiential learning as recent published research demonstrates that art and design students have difficulties in conventional academic approaches to learning theory. In this regard students learned theories of stereotype through doing and making and embodied this learning in their critical project outcomes.

Corporate business and management are embracing design thinking for its potential to deliver competitive advantage through helping them be more innovative, differentiate their brands, and bring more customer centric products and services to market (Brown, 2008). As consumers continue to expect more personalisation and customisation from their service providers, the use of design thinking for innovation within organisations is a logical progression. To date however, there is little empirical literature discussing how organisations are setting about integrating design thinking into their culture and innovation practices. This paper is a first step in initiating a scholarly discussion on the integration of design thinking within organisational culture.

Deloitte Australia is a large professional services firm employing over 5700 staff in 12 offices across Australia. The company provides a range of services to clients in the areas of audit, tax, financial advisory and consulting. In early 2011 the company made a strategic commitment to introducing design thinking into the organisation’s practices. While it already maintains a strong innovation culture, to date it had largely been operating within an analytical business environment. For Deloitte, design thinking is an opportunity to create better outcomes for the people they serve – both internal and external stakeholders (Brown & Wyatt, 2010).

Research was conducted using case study methodology and ethnographic methods from June to September 2011 at the Melbourne Deloitte office. It involved three methods of data collection: semi structured interviews, participant observation and artifact analysis. This paper presents preliminary case study findings of Deloitte’s approach to building awareness and a consistent understanding of design thinking, as well as large scale capability, across the firm. Deloitte’s commitment to transforming its culture to one of design thinking poses significant potential for understanding how design thinking is comprehended, enabled and integrated within a complex organisational environment.

A History of Design Institutes in China examines the intricate relationship between design institutes, the state and, in later periods, the market economy through a carefully situated discussion of significant theoretical and historical issues including socialist utopia, collective and individual design, structural transformation and architectural typologyexportation, amongst others. It shows how, over the past six decades, China’s design institutes have served the state’s strategy for socialist construction and urbanisation to create socio-economic and cultural value. Through first-hand research, authors Xue and Ding reveal how the tensions between pragmatism, creativity, collaboration and resistance, have played a crucial role in defining architectural production.

Many within the science education community and beyond see practical work carried out by students as an essential feature of science education. Questions have, however, been raised by some science educators about its effectiveness as a teaching and learning strategy. This study explored the effectiveness of practical work by analysing a sample of 25 ‘typical’ science lessons involving practical work

I'm happy to announce receipt of the Bookauthority Badge informing that my book, "Product Design: A course in first principles", made it to Bookauthority's Best Product Design Books of All Time:
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Bookauthority collects and ranks the best books in the world, and it is a great honour to get this kind of recognition. Thank you for all your support!
The book is available for purchase on Amazon, and other worldwide networks.

The 2018 eBook edition, ISBN 9781784562946, Upfront Publishing UK, is available (in ePub and  mobi (Kindle) formats) from a number of networks worldwide, including:
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The 2015 edition/2016 printing of this book is available in colour and monochrome paperback formats from the following web sites:
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The 2010 edition of this book is out of print.

Fashion designers are presented with a range of different methods for pattern cutting, and the interest in this field has grown rapidly over the past few years. This growth is both due to the publication of a number of works dealing with the subject in different ways and the fact that a growing number of designers emphasise cutting in their creative practices. 
Though a range of methods and concepts for pattern cutting are presented, the main body of these methods, both traditional and contemporary, is predominately based on a theoretical approximation of the body that is derived from horizontal and vertical measurements of the body in an upright position: the tailoring matrix. As a consequence, there is a lack of interactive and dynamic qualities in methods connected to this paradigm of garment construction, from both expressional and functional perspectives.
This work proposes and explores an alternative paradigm for pattern cutting that includes a new theoretical approximation of the body as well as a more kinetic method for garment construction that, unlike the prevalent theory and its related methods, takes as its point of origin the interaction between the anisotropic fabric and the biomechanical structure of the body. As such, the research conducted here is basic research, aiming to identify fundamental principles for garment construction.
Based on some key principles found in the works of Geneviève Sevin-Doering and in pre-tailoring methods for constructing garments, the proposed theory for – and method of – garment construction was developed through concrete experiments by cutting and draping fabrics on live models.
Instead of a static matrix of a non-moving body, the result is a kinetic construction theory of the body that is comprised of balance directions and key biomechanical points, along with an alternative draping method for dressmaking. This methodology challenges the fundamental relationship between dress, garment construction, and the body, working from the body outward, as opposed to the methods that are based on the prevalent paradigm of the tailoring matrix, which work from the outside toward the body. This alternative theory for understanding the body and the proposed method of working allows for diverse expressions and enhanced functional possibilities in dress.

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.

Public interest design expands the practice and education of architecture and design by shifting from the narrowly focused production of objects to a multi-dimensional process for achieving change and impact. Engaging an inclusive range of stakeholders, it moves design from passive reaction to goals created by the wealthy and powerful to proactive empowerment of the overlooked and underrepresented. Design thus fulfills its potential to contribute to solutions to a myriad of issues connected to the built environment, such as climate change, increasing urbanization, and growing inequity between rich and poor. Present in university design centers, non-profit organizations, for-profit firms, and university courses, public interest design is providing new opportunities for students, young professionals, and all those interested in using their knowledge and training to create positive futures.

System lifecycle properties, such as robustness, resilience, flexibility and adaptability, are used in research and industry in the context of design for changeability. These properties describe systems that can respond to change and uncertainty in use. However, definitions are not consistent across or within domains, thus making communication within and across those domains more difficult. In this paper, a graphical approach has been taken to overcome conceptual and linguistic difficulties when applying and discussing these concepts in design practice. Using a literature review we identified motivations behind using diagrams of lifecycle properties: to compare properties, to establish a conceptual stance, to discuss design for changeability and to establish the system architecture. We then identified the key concepts that diagrams of lifecycle properties should represent: stimulus, response and value delivery. Based on our findings, a diagrammatic framework is proposed to provide a foundation for the discussion and development of ideas across domains and through different levels of systems within those domains.

This thesis consists of a series of extensive projects which aim to explore a new designer role for fashion. It is a role that experiments with how fashion can be reverse engineered, hacked, tuned and shared among many participants as a form of social activism. This ...

In a large room, on the third floor of an old woollen mill in the South West of England, nine architects spend most of their working lives, designing buildings and overseeing their construction. Asked where these come from, architects admit a kind of ignorance: ‘Total magic!’ as one puts it, ‘Something comes from nothing!’ Focusing on the everyday lives of architects, the book explores how buildings are assembled through an intimate and elusive choreography of people, materials, places, tools and ideas. Through these interactions, it asks and answers some questions of wider interest: What is the relationship between a working and a personal life? What is creativity? How is it possible to live truthfully in a world of contradiction and compromise?  What does it mean to claim to know with authority? Most basically but most fundamentally the book is concerned with the question of what it is like to be an architect, and what lessons others might learn from the example their experience provides. Amongst other things, these have to do with the nature of expert knowledge, design, creativity and the central but less celebrated arts of administration.

Education without a meaningful out come is of no use.
Research in Design will get you to places and ahead in career with a great meaning.

Thats what the paper talks about The importance of Textile Design or any other vocational field with a meanigful outcome.

This study examined the potential of universal design in the field of apparel. The particular purpose of the study was to explore the use of the concept and principles of universal design as guidance for developing innovative design solutions that accommodate 'inclusivity' while maintaining 'individuality' regarding the wearer's aesthetic tastes and functional needs. To verify the applicability of universal design in apparel products, two case studies of design practice were conducted, and the principles of universal design were evaluated through practical applications. This study suggests that universal design provides an effective framework for the apparel design process to achieve flexible and versatile outcomes. However, due to product proximity to the wearer, modification of the original definition and principles of universal design must be considered in applications for apparel design.

Where and when can anthropology inform practices of design? and Where and when can design inform practices of anthropology? Both disciplines have distinct identities. Each discipline has its own methods and methodologies. Nevertheless practitioners from within these disciplines continue to realize the benefits of learning with each other. This however does not imply distinctions between the disciplines should be made equivocal. Rather in-the-acts of coming together could suggest different ways of building relations between designing and using. Within a collaborative process of designing what do anthropologists engaged in doing design anthropology bring to the table? And within a collaborative process of designing what do designers engaged in doing design anthropology bring to the table? Addressing questions of where and when things could have been different, anthropologists bring: theoretical concepts based upon grounded ethnographic inquiry; understandings of practices of designing and using; ways of involving theory as a form of practice and juxtaposition of different scales and timelines. Designers bring: critical and material practices of engagement and future making. Both disciplines conduct research investigations of, with and for design. Our aim in the volume is indeed to contribute towards the emerging field of Design Anthropology. Individual chapters address central questions or open lines of inquiry concerning the relations (and how they may be built) between using and producing, designing and using, people and things. The three-section volume is the result of a series of prior collaborations including research seminars held at the Sønderborg Participatory Innovation Research Centre (SPIRE)1 at the University of Southern Denmark between 2007 and 2010, the programme on Designing Environments for Life held at Scottish Universities Insight Institute 2, in autumn 2009, and the international PhD course on Design Anthropology3 held at the Universities of Aberdeen and University of Southern Denmark in March and May 2010. The section leads (Ingold, Redström, Verbeek) with backgrounds respectively in anthropology, design and philosophy of technology, have been asked to frame each section by posing fundamental questions to which the contributors will respond. Contributors come from diverse disciplinary backgrounds, and we regard this as a positive feature of the book. We also believe that it is important that research issues presented should be addressed through the findings of substantive research, rather than purely in the abstract.

This thesis looks at design practice as a method of investigating the relationship between design and identity in interwar Britain; in particular it considers design from the perspective of practice, not solely as the final object or the story of the maker. For it is in the process of making that the varied aspects of design as it is practiced are configured to create the greatest impact on everyday life. This research proposes that the quest to construct one’s identity, in particular a feminine identity, can be demonstrated by the making of goods and objects through the traditionally feminine practice of sewing and needlework, specifically those made at home. It argues that home sewing, as an understudied everyday practice, was intrinsically bound up with ideas of who women were, how they imagined themselves, and how their feminine identities were represented. Between the wars, home-sewing was an integral daily practice for middle-class women that left indelible memories of not only the items made, but of specific types of sewing and design practice, who it was made for and how it was used. It also explores these specific practices during a period of enormous change- culturally, technologically and politically – and particularly important for this study are the themes of femininity and domesticity, as well as the boundaries of private and public life in relation to modernity. Methodologically it focuses on sewing practices by utilizing mass media, specific objects and oral histories to elucidate this. This thesis considers the breadth and extent of home sewing as an everyday practice aligning individual narratives, original source material and theoretical analysis.