Student response to an Internet-mediated industrial design studio course

This paper investigates attitudes of interior design students toward distance education as a teaching/learning method in design studio courses. It is hypothesized that interior design students across academic classifications (freshmen, sophomores, juniors, and seniors) will have similar attitudes toward implementing distance education in their area of study. To test this hypothesis, a one-way analysis of variance (ANOVA) was conducted using 182 interior design students at a southwestern United States university. Results indicated no significant differences in students' attitudes toward distance education in interior design. Additionally, findings of this study indicated that distance education is not the most suitable method in design studio courses.

A design school's core curriculum includes a physical design studio class in all design disciplines. The COVID-19 pandemic led to a switch from physical to online education. Students and instructors had no prior experience with online courses when the shift occurred in February 2020. There have been concerns raised about the quality of online education. Students' evaluations of online design studios were used as a basis for assessing their efficiency, and then factors affecting their satisfaction were examined. An online survey was filled out by 228 students in four academic institutions in the kingdom of Bahrain via Google Forms for different interior and architectural schools using MS Teams and Zoom platforms in the academic year 2021/2022. There were significant influences on respondents' satisfaction with the online design studio course by online learning systems, classroom presence, stability of the online learning system, feedback from studio instructors, demonstrations, and course content designed for online delivery. Based on the findings, developing a replacement design studio model that enhances learning and supports design practice is recommended.

Building product usage scenario of products, building product-user relationship, thinking like users and empathizing with users are the most frequently encountered problems in project-based studio courses in current undergraduate education of Industrial Design and Industrial Product Design departments in Turkey.In this research, undergraduate second and third year programs of Industrial Design departments of 13 different universities in Turkey are examined. Learning outcomes, contents and objectives of the product design courses are compared and contrasted. Thus the similarities and the differences are obtained. Consequently, the two main reasons for the ignorance of user research during design process are; the absence of theoretical courses about user research and the absence of practical and supportive reflection of these courses on product design studio courses. Application of these concepts in design process could be one of the solutions for current problems. As a result of this study, integration of the new methods such as; participatory design, co-design and collaborative design approaches to design process in product design education is suggested. Besides, the importance and the necessity of user participation experience are emphasized. Keywords: Design education, design process, user research, participatory design, co-design

Purpose The main objective of this paper is to investigate how Sustainable Development Goals (SDGs) can be integrated into architectural design education through a second-year architectural design studio experience, exploring ways to create awareness among students regarding SDGs. Design/methodology/approach To arrive at this aim, a case study has been conducted. In this study, the entire curriculum of the second-year design studio has been specifically tailored to correspond with the SDGs and their three dimensions. This alignment covers all stages of the studio, from concept development to material selection, ensuring a direct association with different SDGs. At the end of the semester, all qualitative and quantitative data obtained from the final project submission of the students and the results of a comprehensive questionnaire that has been applied to students aiming at assessing their awareness of the SDGs were evaluated simultaneously. Findings The design studio process during the semester, the data obtained from the final submissions of the students, and the student survey have proved that the integration of SDGs and related targets widens the vision of students and creates awareness not only of environmental issues but also of social and economic sustainability. Originality/value Although there are many studies in literature searching for opportunities to integrate SDGs into the architecture curriculum, there are only a few studies directly using SDGs as the main concept generator of the design studio course. This paper contributes to this missing point in the literature.

The Impacts of Cost Determinism in Architectural Foundation Design Education: An Analysis of Foundation Design Studio

The Application of Ergonomic Knowledge by Undergraduate Product Design Students: FAULisbon as a Case Study

This multiple case study aimed to investigate how digital reflective practice (DRP) influences the creative process of textile design students. Interviews were conducted with textile design instructors, heads of department, and students from four higher education textile design departments in Pakistan. The main themes elicited from the four case studies were teachers’ and students’ perceptions of DRP, challenges to its implementation, and prospects for DRP in the context of textile studio design. Digital technologies can improve students' creativity and comprehension of tasks in textile design studio courses through reflection. Furthermore, teachers can play a crucial role in helping students to utilise digital reflection technologies through mentorship.

Understanding the needs and expectations of the intended users of a designed environment is recognized as one of the essential factors that influence the decision-making process in an interior design project. This situation is also reflected in interior design education, where students conventionally design for hypothetical clients and users. This study explores the contribution of a new user-focused and scenario-based design studio modal to students’ approach to successive stages of design processes, learning outcomes, and engagement to the project course during an online education period. Within the scope of the study, second-year interior design students were assigned to real artists and product designers as clients for a workshop for creative production- showroom project. The students had to communicate with their clients, do research and integrate the information they have collected into their design proposals. The paper concludes with an evaluation of the proposed model from students’ view. It is believed that the approach proposed and applied within the scope of the study has the potential to present a different perspective in interior design studio courses.

"Complex design problems rely on communicative skills that build empathy through understanding, rather than reify disciplinary tensions. While these ‘soft skills’ are critical, they are not yet a fundamental part of design education. Design studio courses in undergraduate education tend to craft simplified simulations of professional practice experiences to explore formal, organizational, conceptual, and technical design approaches. One common simplification is for each discipline to learn independently in isolated courses, without being informed by the realities of multi-disciplinary practice. ‘Communication’ in these siloed studios refers to graphic and verbal presentations that convey student ideas to peers, faculty, and perhaps practitioners, with an emphasis on disciplinary conventions and graphic skills, and the use of discipline-specific language. Yet successful communication in practice requires complex and inclusive skills beyond the products of design, and leverages both interpersonal and intrapersonal communication skills in order to advocate for disciplinary values and needs during design negotiations. This paper describes the course format and outcomes for an interdisciplinary design studio consisting of students and faculty from architecture, landscape architecture, and structural engineering. The studio took a communicative learning approach to the development of communication skills such as empathy, resilience, flexibility, and competence-based trust as integrated factors of design. Students were assigned to 7-person teams to design a campus media library and landscape. Lectures, activities, and readings scaffolded the learning of both soft skills and technical design skills in the studio. In grading the student projects, equal weight was given to evidence of the development of communicative skills and to the attainment of design goals. Outcomes were measured using several instruments, including surveys, writing assignments, and presentation prompts that focused on describing interactions between the disciplines rather than solely on design product. "

Design has only recently begun to be acknowledged as a discipline and an academic area of inquiry. It owes this recognition, in part, to the perseverance of a community of scholars in articulating the design process by developing systematic design methodologies. Nevertheless, despite the several amounts of design process representations, we observed a lack of confidence among industrial design students in understanding and applying a structured design methodology when approaching mid-complexity product design projects. Dealing with complexity and making well-founded and justified design decisions often represent a challenge for novice designers. Hence, this paper aims to strengthen the coherence of the educational framework and ensure the learning outcomes of two sequential product design studio courses in the MSc in Design & Engineering program—Product Development Design Studio (PDDS) in the first year and Final Project Work (FPW) in the second year—are achieved. In both courses, the teaching staff experimented with different visualizations of the design process proposed in the course, with the aim of empowering design students by enhancing their awareness of the design process, design decision-making and fostering key competencies to face real-world challenges. This study was conducted during the first semester of the 2024-25 academic year, when the authors, as part of the two different teaching staff, proposed a visual framing of the design process in their course. These visual representations were developed independently for each course and consistently with the proposed project pathway within it.

Bridging the gap between research and schematic design phases in teaching architectural graduation projects

El proposito de Disena es promover discusiones acerca del alcance de los metodos que usan los disenadores para investigar y crear. Esta edicion especial busca enriquecer el marco conceptual con que se enfrenta el proyecto de diseno en las escuelas. Los diversos articulos ofrecen un amplio espectro de estrategias, conceptos y referentes teoricos provenientes de los STS que cuestionan la practica docente y los metodos pedagogicos tradicionales.

Issue Integrative learning is a valuable experience for design students. Connecting theory from lecture courses with application in interior design studio courses enhances the learning process and provides multiple benefits. Goal This report identifies the process used and the results of such integrative learning. Description A small Victorian-era cottage, listed on the National Register and belonging to Colorado State University, was used as a learning experience in a junior-level design studio. Students were concurrently enrolled in a lecture course on the history of American interiors. Conclusion The results of the integration were highly successful in terms of student learning. Additional benefits to the students, the Interior Design program, and Colorado State University are discussed

Design education aims to ‘serve environmental, technological and societal changes and challenges’. While evidence suggests a worldwide increase of cross-disciplinary working as partnerships transcend the confines of predefined and historical silos. Thus, the premise of this paper is that the field of design needs to more regularly engage design students with community collaboration and broaden the application of design skills into more diverse arenas of creative problem solving. Co-design activities are emphasised as an approach which is focused on processes and procedures of design, not just a design style. In this case, as part of an experiment teaching project in Tongji University, College of Design & Innovation undergraduate program, we tried to bridge co-design methods with design education process in environmental design studio course, in which the second-year students are required to be aware of design process and the ability of cross-disciplinary working and collaboration. This paper will introduce the course syllabus and process on how to involve in co-design method and community collaboration, and will also examines how those pedagogical approaches has been applied in three different school years:2018,2019 and 2020. It will detail the different approached each year have used to construct learning opportunities, along with a profile of the participants, resources and methods utilized. The findings will provide a structure to compare and contrast different approaches used in different years in order to draw conclusions regarding outcomes. The research is still in early stage, while aims to raise discussion about how to educate students who can effectively tackle the multi-disciplinary wicked challenges of the future.

Wearables are constantly becoming more present in our daily lives. Paired with our smartphones and smart homes, wearable devices such as smartwatches and earpieces are aimed to support our endeavors; though at times they invade our personal lives to the point where our communication with the outside world is mostly through these products. Therefore, for our graduate industrial design studio course at Arizona State University, we have set out to design wearable technology products that take all life forms’ well-being into account for the future. We benefited from trend research, design fiction, speculation, wizard of Oz techniques, and concept-knowledge mapping. Prototyping was one of the key methods used to discover how to lead the design propositions for this student project. Master of Industrial Design (MID) students at Arizona State University during Fall 2022 were asked to build– but more importantly, think– with their hands and turn their tacit knowledge and imagination into wearables that will help and care for the end-users. This paper will illustrate the design process used in the studio and how different levels of prototyping helped the MID students’ “think with their hands” and how it allowed the abstract notion of designing for the future to turn into a concrete understanding of creating life-centered designs.