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Just as the term design has been going through change, growth and expansion of meaning, and interpretation in practice and education – the same can be said for design research. The traditional boundaries of design are dissolving and connections are being established with other fields at an exponential rate. Based on the proceedings from the 2017 International Association of Societies of Design Research conference, Re:Research is an edited collection that showcases a curated selection of 83 papers – just over half of the works presented at the conference. With topics ranging from the introduction of design in the primary education sector to designing information for Artificial Intelligence systems, this book collection demonstrates the diverse perspectives of design and design research. Divided into seven thematic volumes, this collection maps out where the field of design research is now.


 


 


 


Opening a Design Education Pipeline from University to K-12 and Back


•       Peter Scupelli, Doris Wells-Papanek, Judy Brooks, Arnold Wasserman


 


To prepare students to imagine desirable futures amidst current planetary-level challenges, design educators must think and act in new ways. In this paper, we describe a pilot study that illustrates how educators might teach K-12 students and university design students to situate their making within transitional times in a volatile and exponentially changing world. We describe how to best situate students to align design thinking and learning with future foresight. Here we present a pilot test and evaluate how a university-level Design Futures course content, approach, and scaffolded instructional materials – can be adapted for use in K-12 Design Learning Challenges. We describe the K-12 design-based learning challenges/experiences developed and implemented by the Design Learning Network (DLN). The Design Futures course we describe in this paper is a required course for third-year undergraduate students in the School of Design at Carnegie Mellon University. The “x” signifies a different type of design that aligns short-term action with long-term goals. The course integrates design thinking and learning with long-horizon future scenario foresight. Broadly speaking, we ask how might portions of a design course be taught and experienced by teachers and students of two different demographics: within the university (Design Undergraduates) and in K-12 (via DLN). This pilot study is descriptive in nature; in future work, we seek to assess learning outcomes across university and K-12 courses. We believe the approach described is relevant for lifelong learners (e.g., post-graduate-level, career development, transitional adult education).


 


Re-Clarifying Design Problems Through Questions for Secondary School Children: An Example Based on Design Problem Identification in Singapore Pre-Tertiary Design Education


•       Wei Leong, Leon Loh, Hwee Mui, Grace Kwek, Wei Leong Lee


 


It is believed that secondary school students often define design problems in the design coursework superficially due to various reasons such as lack of exposure, inexperience and the lack of research skills. Questioning techniques have long been associated with the development of critical thinking. Based on this context and assumption, the current study aimed to explore the use of questioning techniques to enable pre-tertiary students to improve their understanding of design problems by using questions to critique their thinking and decision-making processes and in turn, generate more effective design solutions. A qualitative approach is adopted in this study to identify the trajectories of students during design problem identification and clarification process. Using student design journals as a form of record for action and thoughts, they are analyzed and supplemented by hearing survey with the teacher-in-charge. From the study, the following points can be concluded: (1) questions can be a useful tool to facilitate a better understanding of the design problem. (2) The process of identification and clarification of design problem is important in the development of critical thinking skills and social-emotional skills of the students. (3) It is important that students are given time and opportunity to find out the problems by themselves. (4) Teachers can be important role models as students may pick up questioning techniques from teacher–student discussions. (5) Departmental reviews and built-in professional development time for weekly reviews on teaching and learning strategies are necessary for the continual improvement D&T education.


 


Surveying Stakeholders: Research Informing Design Curriculum


•       Andrea Quam


 


Fundamental to design education is the creation and structure of curriculum. Neither the creation of design curriculum, nor the revaluation of existing curriculum is well documented. With no clear documentation of precedent, best practices are left open to debate. This paper and presentation will discuss the use of a survey as a research tool to assess existing curriculum at Iowa State University in the United States. This tool allowed the needs and perspectives of the program’s diverse stakeholders to be better understood. Utilizing survey methods, research revealed the convergence and divergence of stakeholders’ philosophies, theories and needs in relation to design curriculum. Accreditation and professional licensing provide base level of guidelines for design curriculum in the United States. However, each program’s curricular structure beyond these guidelines is a complicated balance of resources, facilities, faculty and the type of institution in which it is housed. Once established, a program’s curriculum is rarely reassessed as a whole, but instead updated with the hasty addition of classes upon an existing curricular structure. Curriculum is infrequently re-addressed, and when it is, it is typically based on the experience and opinions of a select group of faculty. This paper presents how a survey was developed to collect data to inform curricular decision-making, enabling the reduction of faculty bias and speculation in the process. Lessons learned from the development of this research tool will be shared so it might be replicated at other institutions, and be efficiently repeated periodically to ensure currency of a program’s curriculum.


 


New Challenges when Teaching UX Students to Sketch and Prototype


•       Joep Frens, Jodi Forlizzi, John Zimmerman


 


In this paper we report on new challenges when teaching User Experience (UX) students how to sketch and prototype their designs. We argue that UX students sketch and prototype differently than other design students, and we discuss how changes in the field necessitate a response in education. We describe sketching and prototyping as a continuum that students successfully traverse when they follow a process of “double loop learning.” We highlight three new challenges: (1) New computational design materials, (2) new maker tools and (3) changes within the tech industry. We explore these three challenges through examples from our students, and we outline strategies for sketching and prototyping in this new reality. We conclude that this is a starting point for further work on keeping education up to speed with practice.


 


How to Teach Industrial Design?: A Case Study of College Education for Design Beginners


•       Joomyung Rhi


 


Industrial design education has existed for a long time as part of the university system, but the curriculum and contents of each subject vary considerably from school to school. In recent years, the introduction of new concepts that change the definition of design has blurred the boundaries of design, making the curriculum different. Establishing a standard curriculum to address these challenges is an important task, but it is necessary to fully understand how design education actually takes place and to share content with educators. This paper aims to contribute to the debate on industrial design education by fully disclosing the process and results of the first stage of industrial design education of a university by autobiographical method. The first course, Product Design Practice 1, is a studio class based on a task feedback iteration system. Students are required to submit assignments showing weekly progress. The instructor reviewed the assignments submitted before the class and gave written comments in class. In addition, details of the design process and method that are difficult to identify as novice students are learned through twelve case studies and applied to the project. This Task Feedback Repeating Class system gives students the opportunity to implement design ability while gaining detailed skills with a comprehensive view. Through this process, the researcher got a reflection on the class and implications for the improvement of the class.


 


Preliminary Study on the Learning Pressure of Undergraduate Industrial Design Students


      - Wenzhi Chen


 


Learning pressure affects students’ learning process and performance. Industrial design education emphasizes that operations on real design problems that have heavy working loads may cause learning pressure. The purpose of this study is to explore the issues causing learning pressure and the pressure management strategies of undergraduate industrial design students. There were 297 students who participated in the questionnaire survey. The main findings are as follows: First, learning pressure includes academic pressure, peer pressure, self-expectations, time pressure, financial pressure, pressure from instructors, external pressure, future career, pressure from parents, resource pressure, achievement and situational pressure. In addition, the main learning pressure is caused by finance, time, resources, external issues and future career. Second, the pressure management strategies include problem solving, procrastination and escape, help seeking, leisure, emotional management and self-adjustment. The most useful strategy for managing pressure is leisure, and procrastination and escape is the least useful strategy. Third, all learning pressures are significantly correlated with procrastination and escape strategy, but the coefficients are low. The results can be a reference for industrial design education and related research.


 


Rewarding Risk: Exploring How to Encourage Learning that Comes from Taking Risks


•       Dennis Cheatham


 


High-stakes testing that became the norm after the “No Child Left Behind Act” of 2001 helped condition students to strive for correct answers for clear problems, all on the first try. However, the iterative process inherent in designing requires risk-taking to conduct a trial-and-error process of defining problems and exploring possible solutions. This design research project was operated with Miami University Graphic Design students to test their willingness to take risks in their coursework to achieve their self-defined measures of success. Students identified that improving their skills was how they defined success. An interaction design assignment involving front-end coding was modified to test students’ comfort taking risks to grow their skills. Most students took risks in the assignment to grow their interaction design skills. The project revealed that closer attention to student motivation when developing learning experiences could help students make the transition to practicing design as an iterative process fraught with risk.


 


An Analysis of the Educational Value of PBL Design Workshops


•       Ikjoon Chang, Suhong Hwang


 


The purpose of this study is to plan and operate design-workshops based on project-based learning (PBL), and examine their educational value for students. The PBL workshop encourages direct participation from students and produces educational value, and it is important to raise the interest level of workshops to elicit proactive participation. The workshop in this study was carried out over 2 weeks in January 2017 at Korea’s Yonsei University. The workshop was composed of eight teams of students from three countries, including Korea, China and Japan, and the course was primarily divided into two sessions. The workshop participants examined in this thesis were notably satisfied with the elements of the course meant to garner interest. In the questionnaire results, participants also indicated that they obtained ample educational value through the workshop. An important element of the workshop was to connect the participants with businesses, which is also an important component of design education. Despite this, participants expressed a relatively lower level of satisfaction compared to other elements of the workshop. The results and analysis of this study will hopefully become a meaningful resource for educators when designing workshops in the future.


 


Collaborative Design Education with Industry: Student Perspective by Reflection


      - Nathan Kotlarewski, Louise Wallis, Michael Lee, Gregory Nolan, Megan Last


 


This study suggests that student reflection on academic and industry collaborative projects can enhance student’s understanding on the design process to solve live industry problems. It contributes to the body of design literature to support students learning of explicit and implicit knowledge. A 2017 learning by-making (LBM) unit in the School of Architecture and Design, at the University of Tasmania, Australia, developed a unit for students to collaborate with Neville Smith Forest Products Pty. Ltd (NSFP). NSFP is a local Tasmanian timber product manufacturer who currently stockpiles out-of-grade timber that has limited market applications. Undergraduate design students from second- and third-year Furniture, Interior and Architecture degrees collaborated with NSFP to value-add to their out-of-grade resource in the LBM unit. A series of design challenges, observations of industry practice and access to out-of-grade timber from NSFP exposed students to live industry problems and provided them the opportunity to build professional design skills. Students reflected on the collaborative LBM unit in a reflection journal, which was used to provide evidence of their learning experiences. The collaborative environment between academia and industry allowed students to acquire an understanding of timber product manufacturing that helped them develop empathy toward the industry problem and influence the development of new products. This study presents how student reflections influenced a change in their design process as they progressed through sequential design challenges to address an industry problem by adopting Valkenburg and Dorst reflective learning framework.


 


Interdisciplinary Trends in Design Education: The Analysis of Master Dissertation of College of Design and Innovation, Tongji University


•       Lisha Ren, Yan Wang


 


This paper expounds the background of Chinese design education as well as the orientation of the design education of Tongji University in the new times, it also collects 458 Master Thesis of College of Design and Innovation during 2010–2016 as analyzed sample. Based on the coding of subject classification, quantitative analysis and content analysis are made in order to understand the interdisciplinary education status of College of Design and Innovation from the two perspectives: the overall cross-disciplinary performance and the relationship between different cross-disciplinary directions.


 


From ANT to Material Agency: A Design and Science Research Workshop


•       Anne-Lyse Renon, A. De Montbron, Annie Gentes, Julien Bobroff


 


This paper studies a design workshop that investigates complex collaboration between fundamental physics and design. Our research focuses on how students create original artifacts that bridge the gap between disciplines that have very little in common. Our goal is to study the micro-evolutions of their projects. Elaborating first on Actor Network Theory we study how students’ projects evolved over time and through a diversity of inputs and media. Throughout this longitudinal study, we use then a semiotic and pragmatic approach to observe three “aesthetical formations”: translation, composition and stabilization. These formations suggest that the question of material agency developed in the field of archeology and cognitive science need to be considered in the design field to explain metamorphoses from the brief to the final realizations.


 

Atari’s 1981 arcade hit Tempest was a “tube shooter” built around glowing, vector-based geometric shapes. Among its many important contributions to both game and cultural history, Tempest was one of the first commercial titles to allow players to choose the game’s initial play difficulty (a system Atari dubbed “SkillStep”), a feature that has since became standard for games of all types. Tempest was also one of the most aesthetically impactful games of the twentieth century, lending its crisp, vector aesthetic to many subsequent movies, television shows, and video games. In this book, Ruggill and McAllister enumerate and analyze Tempest’s landmark qualities, exploring the game’s aesthetics, development context, and connections to and impact on video game history and culture. By describing the game in technical, historical, and ludic detail, they unpack the game’s latent and manifest audio-visual iconography and the ideological meanings this iconography evokes.

The first major study of Cashmere and Paisley shawls in nineteenth-century British literature, this book shows how they came to represent both high fashion and the British Empire. During the late eighteenth century, Cashmere shawls from the Indian subcontinent began arriving in Britain. At first, these luxury goods were tokens of wealth and prestige. Subsequently, affordable copies known as “Paisley” shawls were mass-produced in British factories, most notably in the Scottish town of the same name. Textile Orientalisms is the first full-length study of these shawls in British literature of the extended nineteenth century. Attentive to the juxtaposition of objects and their descriptions, the book analyzes the British obsession with Indian shawls through a convergence of postcolonial, literary, and cultural theories. Surveying a wide range of materials—plays, poems, satires, novels, advertisements, and archival sources—Suchitra Choudhury argues that while Cashmere and Paisley shawls were popular accoutrements in Romantic and Victorian Britain, their significance was not limited to fashion. Instead, as visible symbols of British expansion, for many imaginative writers they emerged as metaphorical sites reflecting the pleasures and anxieties of the empire. Attentive to new theorizations of history, fashion, colonialism, and gender, the book offers innovative readings of works by Sir Walter Scott, Wilkie Collins, William Thackeray, Frederick Niven, and Elizabeth Inchbald. In determining a key status for shawls in nineteenth-century literature, Textile Orientalisms reformulates the place of fashion and textiles in imperial studies. The book’s distinction rests primarily on three accounts. First, in presenting an original and extended discussion of Cashmere and Paisley shawls, Choudhury offers a new way of interpreting the British Empire. Second, by tracing how shawls represented the social and imperial experience, she argues for an associative link between popular consumption and the domestic experience of colonialism on the one hand and a broader evocation of texts and textiles on the other. Finally, discussions about global objects during the Victorian period tend to overlook that imperial Britain not only imported goods but also produced their copies and imitations on an industrial scale. By identifying the corporeal tropes of authenticity and imitation that lay at the heart of nineteenth-century imaginative production, Choudhury’s work points to a new direction in critical studies.

The challenge of overcoming educational inequality in the United States can sometimes appear overwhelming, and great controversy exists as to whether or not elementary schools are up to the task, whether they can ameliorate existing social inequalities and initiate opportunities for economic and civic flourishing for all children. This book shows what can happen when you rethink schools from the ground up with precisely these goals in mind, approaching educational inequality and its entrenched causes head on, student by student.
           
Drawing on an in-depth study of real schools on the South Side of Chicago, Elizabeth McGhee Hassrick, Stephen W. Raudenbush, and Lisa Rosen argue that effectively meeting the challenge of educational inequality requires a complete reorganization of institutional structures as well as wholly new norms, values, and practices that are animated by a relentless commitment to student learning. They examine a model that pulls teachers out of their isolated classrooms and places them into collaborative environments where they can share their curricula, teaching methods, and assessments of student progress with a school-based network of peers, parents, and other professionals. Within this structure, teachers, school leaders, social workers, and parents collaborate to ensure that every child receives instruction tailored to his or her developing skills. Cooperating schools share new tools for assessment and instruction and become sites for the training of new teachers. Parents become respected partners, and expert practitioners work with researchers to evaluate their work and refine their models for educational organization and practice. The authors show not only what such a model looks like but the dramatic results it produces for student learning and achievement.
           
The result is a fresh, deeply informed, and remarkably clear portrait of school reform that directly addresses the real problems of educational inequality. 
 

From 2012-2015 (as part of the Mellon-funded SPARC project), the A2RU research team interviewed upper-level administration, faculty, and students at 38 member institutions about the impact of their arts-integration initiatives, including teaching, research, and community projects. We asked about what impact they hoped for and what impact they actually saw. The Impacts Map is a graphic representation of the categories of impact we surfaced, and a framework and logic model for connecting impacts across domains.

This arresting graphic provides a visual overview of the impacts of arts integration and interdisciplinarity in the university. It can be a tool for case-making, communication, and further inquiry.

This listing is for a pack of 12 maps.

From 2012-2015 (as part of the Mellon-funded SPARC project), the A2RU research team interviewed upper-level administration, faculty, and students at 38 member institutions about the impact of their arts-integration initiatives, including teaching, research, and community projects. We asked about what impact they hoped for and what impact they actually saw. The Impacts Map is a graphic representation of the categories of impact we surfaced, and a framework and logic model for connecting impacts across domains.

This arresting graphic provides a visual overview of the impacts of arts integration and interdisciplinarity in the university. It can be a tool for case-making, communication, and further inquiry.

This listing is for a pack of 5 maps.

The handloom--often no more than a bundle of sticks and a few lengths of cordage--has been known to almost all cultures for thousands of years. Eric Broduy places the wide variety of handlooms in historical context. What influenced their development? How did they travel from one geographic area to another? Were they invented independently by different cultures? How have modern cultures improved on ancient weaving skills and methods? Broudy shows how virtually every culture, no matter how primitive, has woven on handlooms. He highlights the incredible technical achievement of primitive cultures that created magnificent textiles with the crudest of tools and demonstrates that modern technology has done nothing to surpass their skill or inventiveness.

Economic research on climate change has been crucial in advancing our understanding of the consequences associated with global warming as well as the costs and benefits of the various policies that might reduce emissions of greenhouse gases. As nations work to develop climate policies, economic insights into their design and implementation are ever more important.

 

With a balance between theoretical and empirical approaches, The Design and Implementation of US Climate Policy looks at the possible effects of various climate policies on a range of economic outcomes. The studies that comprise the volume examine topics that include the coordination—or lack thereof—between the federal and state governments, implications of monitoring and enforcing climate policy, and the specific consequences of various climate policies for the agricultural, automotive, and buildings sectors.

Sandra Chung proposes that linguistic theory must recognize not one but two agreement relations—a featural relation that lies behind agreement's impact on the form of words and a configurational relation that lies behind agreement's impact on syntactic structure. She identifies the two relations and argues that neither can be reduced to the other. Chung offers the most comprehensive analysis of the syntax of Chamorro that has appeared to date and relates her proposals to what is known about analogous constructions in English, Italian, Irish, Japanese, Maori, and other languages.

During the era of the Weimar Republic, Germany was characterized by deep contradictions and polarizations. New, progressive social mores and artistic developments mixed uneasily with growing reactionary politics. When the 1929 stock market crash produced a severe economic shock, voters began to shift their allegiances from the parties of the center to radicals on both the left and the right. By 1933, amidst crisis and chaos, the Nazis had taken over.

In The Honor Dress of the Movement, Torsten Homberger contends that the brown-shirted Stormtrooper uniform was central to Hitler's rise to power. By analyzing its design and marketing, he investigates how Nazi leaders used it to project a distinct political and military persona that was simultaneously violent and orderly, retrograde and modern—a dual image that proved popular with the German people and was key to the Nazis' political success. Based on a wealth of sources that includes literature, films, and newspapers of the era, Homberger exhibits how the Nazis shaped and used material culture to destroy democracy.

Before he joined the staff of Punch and designed its iconic front cover, illustrator Richard “Dicky” Doyle was a young man whose father (political caricaturist John Doyle) charged him with sending a weekly letter, even though they lived under the same roof. This volume collects the fifty-three illustrated missives in their entirety for the first time and provides an uncommon peek into the intimate but expansive observations of a precocious social commentator and artist.

In a series of vivid manuscript canvases, Doyle observes Victorian customs and society. He visits operas, plays, and parades. He watches the queen visiting the House of Commons and witnesses the state funeral of the Duke of Sussex. He is caught up in the Chartist riots of August 1842 and is robbed during one of the melees. And he provides countless illustrations of ordinary people strolling in the streets and swarming the parks and picture galleries of the metropolis. The sketches offer a fresh perspective on major social and cultural events of London during the early 1840s by a keen observer not yet twenty years old.

Doyle’s epistles anticipate the modern comic strip and the graphic novel, especially in their experimentation with sequential narrative and their ingenious use of space. The letters are accompanied by a full biographical and critical introduction with new material about Doyle’s life.

The last forty years have seen the rise of the personal computer, a device that has enabled ordinary individuals to access a tool that had been exclusive to laboratories and corporate technology centers. During this time, computers have become smaller, faster, more powerful, and more complex. So much has happened with so many products, in fact, that we often take for granted the uniqueness of our experiences with different machines over time.

The Interface Experience surveys some of the landmark devices in the history of personal computing—including the Commodore 64, Apple Macintosh Plus, Palm Pilot Professional, and Microsoft Kinect—and helps us to better understand the historical shifts that have occurred with the design and material experience of each machine. With its spiral-bound design reminiscent of early computer user manuals and thorough consideration of the cultural moment represented by each device, The Interface Experience is a one-of-a-kind tour of modern computing technology.

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In February 1956 the president of IBM, Thomas Watson Jr., hired the industrial designer and architect Eliot F. Noyes, charging him with reinventing IBM’s corporate image, from stationery and curtains to products such as typewriters and computers and to laboratory and administration buildings. What followed—a story told in full for the first time in John Harwood’s The Interface—remade IBM in a way that would also transform the relationships between design, computer science, and corporate culture.

IBM’s program assembled a cast of leading figures in American design: Noyes, Charles Eames, Paul Rand, George Nelson, and Edgar Kaufmann Jr. The Interface offers a detailed account of the key role these designers played in shaping both the computer and the multinational corporation. Harwood describes a surprising inverse effect: the influence of computer and corporation on the theory and practice of design. Here we see how, in the period stretching from the “invention” of the computer during World War II to the appearance of the personal computer in the mid-1970s, disciplines once well outside the realm of architectural design—information and management theory, cybernetics, ergonomics, computer science—became integral aspects of design.

As the first critical history of the industrial design of the computer, of Eliot Noyes’s career, and of some of the most important work of the Office of Charles and Ray Eames, The Interface supplies a crucial chapter in the story of architecture and design in postwar America—and an invaluable perspective on the computer and corporate cultures of today.

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A new perspective on a book that transformed Victorian illustration into a stand-alone art 

 

Edward Moxon’s 1857 edition of Alfred, Lord Tennyson’s Poems dramatically redefined the relationship between images and words in print. Cooke’s study, the first book to address the subject in over 120 years, presents a sweeping analysis of the illustrators and the complex and challenging ways in which they interpreted Tennyson’s poetry. This book considers the volume’s historical context, examining in detail the roles of publisher, engravers, and binding designer, as well as the material difficulties of printing its fine illustrations, which recreate the effects of painting. Arranged thematically and reproducing all the original images, the chapters present a detailed reappraisal of the original volume and the distinctive culture that produced it.