Prototyping services as a co-creative learning process with emotional emphasis

This article describes how emotions and co-creation are part of a learning level connected with service prototyping where the body, gestures and emotions are part of the interaction between participants. Services are conceived as the result of a design process, but the process is also a change of the mindset about the service itself. In the service, prototyping process participants have to learn how to see the service from their experience and analyze it with a critical, collaborative and kind perspective to build in a co-creative environment the improvements. The service prototyping perspective is given by the SINCO LAB at the University of Lapland, Finland as the original laboratory with a particular methodology of role-playing through service design and the practice in the DES LAB at Universidad del Desarrollo, Chile, which follows the same idea.

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Social marketing of clothing consumerism in education – and the call for Critical Design Literacy

In this paper we will show how changing behaviours towards more sustainable clothing consumerism is made in an educational material. In the first part of the paper, we will show in what way sustainable clothing consumption is promoted in the educational material named “Sustainable Fashion”. The material is produced by the Swedish NGO “Swedish Consumers” and consists of 17 design projects with and about clothes consumption. In the analysis, we will show the meaning that is made in the educational material using a practical epistemological analysis (PEA) and the use of aesthetic judgements (Hofverberg & Maivorsdotter, 2018). Secondly, we deepen the analysis with the aid of social marketing to show how the meaning of sustainable clothing consumption is communicated to change pupils’ behaviours. Finally, we will discuss our findings as a matter of critical design literacy, and particular teaching critical design literacy

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Longer lasting garment – local design literacy in perspective of consumptionLiv Merete Nielsen

Younger generations’ awareness is an important brick in changing western consumer culture in a greener direction. We can see a culture change where people gather for local ‘repair café’, trading of second-hand clothing or visible mending. Political regulations are however missing for giving such local initiatives economic balance. Sweden has already reduced economic taxes on repair, this has not yet been done in Norway. Formulations in the national curriculum for Art and crafts (LK2020) might contribute to make young students design literate, and thereby build their cognitive and practical skills and knowledge to become responsible consumers in perspective of environmental impacts–now and in future.  This a heavy burden to hang upon young student shoulders. A balance between political regulations and a design literate general public might however contribute to real change.

Continue ReadingLonger lasting garment – local design literacy in perspective of consumptionLiv Merete Nielsen

The Necessity for Design Literacy – Amongst our leaders and communities

The pathway of design literacy provides an appreciative and discerning view of what we can expect for the efficacy of design literacy. It means we locate both the non-designer and designer in the same framing of design, literacy. This collective view of design literacy is necessary for today’s work because as the author has found in her work the relationship between non-designer and designer is the extent in which there is a literacy or competency or bridge to work and communicate. The balance is knowing the pathway of literacy that one ought to go on and the point in which perhaps the literacy developed is “enough”. The ultimate test for design literacy goes back to the opening question, what is the efficacy in which we need to measure design literacy?

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Design literacy in the Chilean curriculum: opportunity, omission or unfulfilled promise?

The Chilean Ministry of Education aims to form socially responsible citizens committed to their environment, we wonder about the convergences of the Chilean curriculum with design literacy principles. Does the Chilean curriculum offer opportunities to implement design literacy-based pedagogies? At what level and related to what courses subjects could they be implemented?

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A Self-Taught Design Literate, Tetsu Nakamura, a Japanese Physician in Afghanistan

This paper investigates the extraordinary career journey of Tetsu Nakamura based on documentaries, news articles, reports, and scholarly articles. The investigation is further fed by the insights gained through in-class discussions on the case over several years in an undergraduate introductory design course offered by the author. The paper attempts to develop a perspective through which Nakamura’s vision and practice of medicine can be appraised as design interventions. Would such a perspective play a meaningful role in deepening our understanding of design literacy? What lessons can we draw from Nakamura’s case concerning design literacy as transdisciplinary? What is the meaning of the total absence of women as actors in this case, reconsidering the case with respect and a pinch of criticism?

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The Role of Digital Literacy in the Development of Design Literacy Skills of First-year Architecture Students

The objective of this study is to examine the effects of the “digital turn” experienced in higher education on introductory design education and the role of digital literacy in the development of design literacy skills of first-year architecture students. The study raises the following research questions: What are the implications of the growing engagement of first-year design students with digital tools/platforms for (1) reconceptualizing the notion of design, and (2) reconsidering models for design learning and knowledge production? Methodologically, this examination will dwell on the case study analysis of ARCH 101 design studio practices of 2021–2022 academic year executed in two different Bachelor of Architecture programs at Özyeğin University Department of Architecture and Middle East Technical University Department of Architecture, which we have experienced as first-year design studio tutors. The use of digital tools and platforms as both representation and generative design tools, as well as its contribution to structuring the studio organization, project submissions, and assessment practices such as weekly design crits and juries will be examined. In addition, how the development of students’ ability to use these digital tools and platforms affects their design skills will be evaluated both through student studies and the tutors’ on-site observations and reflective evaluations.

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Fostering Universal Design for Learning (UDL) principles through a design thinking approach

This case study explores in-service educators' use of design thinking-based methods and tools during the final seminar of a graduate course. The study involved 35 students from the 2016 and 2017 cohorts who attended the "Seminar on innovation for diversity in school". All the participants were working educators, the majority being teachers, although there were also psychologists and speech therapists. The information collected included participant observation, reports, forms, and prototypes elaborated by the participants.

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Francisco Zamorano

A Designer designed the course presented in this extended abstract. Thus, the approach to learning math and programming concepts is through the lens of the design discipline. This is reflected for instance in the iterative design of the algorithms and visualizations, or in having students share their results with someone else to receive constructive critique before going back to the drawing board for a new iteration. Through a design-driven approach students were able to learn some basic principles of CT, hopefully paving the way for formal programming learning in the future. The case presented in this abstract depicts an exploratory study with a small sample of students, nonetheless, the experience was enlightening and served as motivation to keep exploring the interstitial space between design literacy, computational thinking, and digital literacy.

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The Design Literacy Needs Of Social Responsibility – An Example of Rural Design Course

Design is regarded as a practical activity with empathy, creativity and responsibility. This study discusses how to cultivate social responsibility in the course of design education. The designers in the study were third-year university students, and the key design literacy was reflected in the rural planning and design projects submitted by the students. Responsible design comes from the construction of empathy and positive responses to real needs, and the active development of solutions to problems. Rural Planning and Design is a compulsory course in the third year of undergraduate studies. The countryside is a regional complex with natural, social and economic characteristics, with multiple functions of production, life, ecology and culture. Rural areas need a coordinated development of economic prosperity, ecological protection and abundant living. In China, “rural revitalization” is an influential development strategy proposed by the government and an essential design theme faced by designers. The course requires students to grasp the basics of rural planning and design, the design process and design methods. In 2021, I worked with a local design agency to carry out a practical design for a specific village. The project requires students to thoroughly consider the ecological environment, land use, industrial development, layout of residential settlements, improvement of living environment, ecological protection and historical and cultural inheritance of the selected villages. The future development path of the village is planned, and the specific rural public activity space is designed. The project leads students to design for real “needs”, which are frequently accompanied by a game of multiple interests, such as “developing additional houses for further economic benefits or maintaining a more ecological environment”. “Rural public activity spaces mainly serve local villagers or display more agricultural products for foreign tourists”? The students brought issues of economic development, ecological balance and social maintenance to their final design concept. In this project, I think the cultivation of design responsibility is reflected in three stages. Research stage. Because the research involves a lot of content, it needs to be done by teams. The class was divided into four groups, with 5-6 students in each group. The students realized the research task through field interviews, questionnaires, relevant case analysis and other methods. This process cultivated the spirit of teamwork, mutual help and win-win among students. Their survey content is comprehensive and true, including economic survey (agricultural planting category, area, etc.), social villagers (the needs of various rural groups such as the elderly, children, poor households, children who work outside, etc.), and ecological environment (the distribution and area of mountains, rivers, forests, residential houses, etc.). Composite design stage. Students made mind maps, clarified the design ideas and design processes, and conducted SWOT analysis on the survey content. For rural areas, they learn ecology, economics, geography, sociology and other related knowledge, examine the game relationship between interest demand and ecological interest from a systematic and critical perspective, and put forward the design concept of sustainable development. Design expression stage. Student final submission of digital results, including pictures, models, dynamic display. Considering that the recipients of the results were many villagers who had not received design education, the students designed multi-form visual results that presented the design concepts logically and clearly, so that people could intuitively observe and touch the abstract concepts, which was helpful for villagers to understand and see the design scheme and participate in the discussion together. Finally, the project team, villagers in the project location and the village committee jointly convened a “report + feedback” meeting.

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International Understanding Education

Taken together, the design literacy initiative based on concepts related to international understanding of education will involve the following recommendations: Integrate the basic idea of international understanding education and its related content into the undergraduate curriculum education of designs, and cultivate basic understanding literacy. To cultivate the international understanding literacy of design practice teaching teachers. Integrate international understanding and design literacy courses into middle school humanistic literacy education, and take incentives to cultivate international understanding and design literacy teacher training. Integrate international understanding and design literacy into the basic literacy education system of universities, cultivate the spirit of equality, mutual learning and international cooperation, And expand to adult and social education, further enrich and expand the concept and connotation of international understanding education.

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Design for wellbeing and perception-centered experiences

The design discipline offers an almost all-encompassing care of human needs. In some cases, even needs that people themselves are hardly aware of. For the purpose of a well-being orientation perception-centered design of all things and information with which we interact as humans it would be important to achieve design literacy.

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Design to Improve Life: Paths to solve complex transdisciplinary challenges

The training program consisted of 25 class hours conducted by two certified instructors of The Index Project®, during 5 weeks.  During the first week, participants were introduced to The Compass methodology going through its four phases and concluding with the delivery of a fast one-day team assignment. During the second week, the training focused on deepening the acquired knowledge and exercising various techniques defined for each of the phases. From the third to the fifth week, students grouped in transdisciplinary teams to explore a chosen challenge and apply a whole Compass cycle to propose possible solutions. Each group delivered a report detailing their design process using the Compass methodology. Each group’s process will be analyzed and compared using a matrix to determine common and individual discoveries. Data analysis will enable us to identify recurrent successful aspects of the design of the transfer program and the methodology itself by comparing the four cases. It will also highlight areas of improvement for the future development of the Compass.

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Exploration on Emotional Design Method of Cultural and Creative Products based on the major of Cultural Industry Management

In the future all the students of Cultural Industry Management should know that emotional cultural and creative products design needs to base on the following strategies (Yang,2022): First of all, in order to meet the emotional needs of tourists, we need to make certain innovations in visual expression. For example, material, image, text, color, modeling and other aspects are the most basic levels of emotional design. On the basis of fully considering consumers' psychological and emotional needs, cultural and creative design can realize creative graphics and match words and colors to establish an emotional bond between consumers and the cultural and creative product through the processing of information. Secondly,Give feedback to the product, and then improve the emotional experience. Feedback and evaluation of cultural and creative product, which reflects the interactivity and experience of products, which is the behavioral level of emotional design.Lastly,we need to follow the principle of diversification in the way of publicity, and then strengthen emotional care. It is the highest level of emotional design to elicit the emotional resonance of people by extracting cultural symbols of cultural and creative design, so as to perceive the cultural images in products and decide whether to experience again. At this level, consumers themselves should be considered, and on the other hand, the cultural significance of products should be emphasized. In the following design practice, we should continue to combine the theory of emotional design to the cultural and creative product practice, and try to investigate a few effective design methods apply to the development of cultural and creative products talents.

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Locating critical design literacy in pupils’ submissions

The empirical material consists of 32 submissions and the definition above turns the lens to what changes the pupils voice, what kind of features they suggest for the shared-living facilities in the ecovillage and to the words the pupils use to explain and justify their concept. I move between different modes of practices as I work both as a teacher in lower secondary education and as a professor at the university. In this study, the role as a teacher serves as a ‘mediating component’ (Dunin-Woyseth & Nilsson, 2012, p. 3) between the field of academia and the field of general education to advance our understanding of how pupils might demonstrate critical design literacy.

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‘Public Successes but Private Breakdowns?’

This study highlights the importance and urgency of safeguarding students’ mental well-being, the potential of the hierarchical CTL pedagogy’s favourable implication for academic performances and a call to action, as evidenced by an empirical study to nudge educators to reconsider our pedagogical approach that departs from the authoritarian M&A OOO studios. Education is consequently about character development, empowerment, enabling, and the transformation of the individual so that they can intervene in this world.

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