Figure - uploaded by Jacques Lange
Content may be subject to copyright.

Source publication
Book
Full-text available
The Icograda Design Education Manifesto, a key legacy of Oullim, is a core document that defines the Council's position on design education. The Manifesto advocates that design education must be a learning-centred environment, enabling students to develop their potential in and beyond academic programs. The Icograda Design Education Manifesto was...

Citations

... Hablábamos de la variedad de propuestas, destrezas y del mar de personalidades e intereses que tienen los diseñadores, haciendo muy difícil hablar de un solo tipo de diseñador. Existen los que son de tipo estratégico, los que investigan, los que hacen, etc. Todos ellos forman parte del universo del diseño y la educación debería tener en cuenta que estas incertidumbres sólo podrán ser evaluadas y valoradas en el futuro (Malouf, 2011). La adopción tecnológica, aunque cada vez más acelerada, constituye un componente muy importante que, al estar íntimamente ligado a un tema económico, dificulta su aplicación al salón de clases. ...
Article
Full-text available
Independiente a la forma cómo se enseña diseño, resulta importante determinar las características ideales para su correcta evaluación. Sin embargo, es fácil relacionar el juicio del profesor al momento de evaluar con favoritismos, inconsistencias o actitudes de sesgo. Por ello se sugiere la implementación de objetivos bien definidos y la generación de instrumentos propios, para evitar la necesidad de evaluar “a criterio” haciendo más eficiente el proceso de evaluación.
... Esto es porque la información más relevante proviene de los usuarios, de su contexto y su cultura. La mejor manera de entender la cultura del otro, de acuerdo con los antropólogos, es estar con él, hombro con hombro (Press y Cooper, 2007;Triggs, 2011;Dubberly, 2011). Esta interacción debe ir más allá e incluir al usuario no sólo participando y proporcionando información, sino también dándole forma a la solución y al diseño y llevando esta interacción hacia una conversación cuya "interacción se centre en comprensión, acuerdo y acción" (Glesne, 2006, p. 77 ...
Article
Full-text available
A través de la investigación-acción se identificaron cinco áreas que las comunidades de educadores del diseño necesitan desarrollar para responder a los contextos contemporáneos: revisión del contenido curricular, innovación en la pedagogía, comprensión de la sociedad y del cliente en un contexto sostenible, visualización de un futuro sostenible y el desarrollo de una comunidad internacional multidisciplinar de escuelas. Through action-research, five concepts were identified that design schools need to develop in order to respond to contemporary contexts: revision of curricular content, innovation in in pedagogy, understanding of society and the client in a sustainable context, visualization of a future sustainable development and the development of a multidisciplinary international community of schools.
... Others are more ambitious, proposing that graphic designers need to understand, "aesthetics, psychology, communication and social and functional needs of a changing society, as well as the driving forces behind these transformations." (Min, 2011) This shift is laudable, but not unproblematic. Sless points out that the transformation from design as planning for making things, to design as active social/political/economic engagement, requires entirely different competences and a different approach to evaluation, since within this frame it is the effect that is emphasised, not the product (Sless, 2011). ...
Conference Paper
Full-text available
Design education is in a state of flux, facing pressures and problems on an institutional level, as do other disciplines. However, design itself is changing rapidly and it is crucial for design education to both adapt to these changes and take a proactive role in their development. As part of this process it is necessary for educators to understand and discuss the current design paradigm. This paper aims to contribute to, and to clarify, some of the key concerns in this debate. To this end this paper takes the form of a literature review of texts relating to contemporary design education, with a focus on communication design. This paper revisits a collection of texts that accompanied the 2011 Icograda Design Manifesto and the 2015 Beyond Discipline report by Lara Furniss with the intention of building a picture of the current concerns in design pedagogy. The views of the various contributors are examined and contrasted in order to bring important issues to the fore and to note points of departure.
... Graphic designers need to understand computers, networks, and software in the same way as they understood printing, binding, and other production techniques in order to cope with the changing role of the graphic designer (Dubberly, 2011). ...
... Traditional graphic designers are now required to design online campaigns, animated logos, and digital art works that suit new digital media (Bacon, 2010). Dubberly (2011) warned that printing is dying; he predicted that the mass-customisation inkjet and other digital printing techniques would replace mass production lithography, and that printed newspapers, magazines, and books may vanish. ...
... The transition from print design to digital media design is not just a question of learning more technical skills. Graphic designers need to understand computers, networks, and software, just as they previously had to understand printing, binding, and other production techniques (Dubberly, 2011). ...
Thesis
This study aimed to explore the required competencies for print graphic designers to transition into digital media design in Jordan. Qualitative and quantitative methods were used in this study to achieve the research objectives. Interviews with academics and practitioners in the digital media design field were conducted and then a modified Delphi method was used to obtain consensus and validation from a panel of experts on the significant competencies for practising digital media design. Later, a self-assessment questionnaire was used to determine the needed competencies for print graphic designers to transition into digital media design.
... This paper takes a closer look at how technology has affected and continues to affect design education in the context of design educators and practitioners arguing that design education is stuck in the past (e.g. Davis, 2011, Norman, 2011), " out of date " (Dubberly, 2011, p. 81) and seemingly incapable of meeting the demands of the changed scope of the profession (Canniffe & Wiley, 2011), leading to the questioning and challenging of existing design curricula. Using the Digital Media Design major of the Bachelor of New Media Arts degree in a medium-sized Australian University as an example, this paper questions which technological advancements -recent and not so recent urgently require an innovative approach to redesigning the existing design curriculum and/or involve incremental change. ...
Article
Full-text available
It has only been two years since I wrote Big Bang Technology: What’s next in design education, radical innovation or incremental change? In that brief time, technology has continued to drive change in how design is practised, produced, accessed, traded, taught and learnt. I have continued to adjust my media design curriculum with small modifications and, where warranted, radical changes. In two years, the application of the learning and teaching approach I devised and described to manage the increasing complexity of technology in media design education has stopped, but research into sustainability of new learning and teaching models has started and the implementation of the first fully online media design degree has begun.
... Em relação a isso, Manzini [23] aponta que os exercícios e projetos artificiais criados apenas com fins didáticos durante o processo formativo, e que ficam guardados em arquivos de computador dos alunos e professores, são um desperdício que pode ser evitado. O autor propõe que sejam implantados em todas as escolas de design o que chama de "Laboratórios de Inovação Social" (Design Lab -a exemplo de seu projeto DESIS) 2 [45] acena que as novas TIC e a difusão da informação alteram as relações de poder entre professores e alunos, fato que pode ser utilizado para produzir uma relação mais colaborativa, circular, profícua e renovada na dinâmica das aulas e no empreendimento e engajamento em projetos diferenciados como os laboratórios propostos por Manzini [27] ou outros projetos que possam surgir por iniciativa das instituições ou dos próprios alunos. ...
Conference Paper
Full-text available
This paper presents current theoretical perspectives about higher education in Design from the point of view of different authors around the world. The objective is to present systematically and synthetically observations about dilemmas and problems identified in design higher education and some of the propositions and solutions advocated by the authors. The research consists in a qualitative literature review realized with successive readings in national and international books and academic journals of the area, mainly from the last 25-30 years, concentrating specially on the most recent publications. Many of the authors are well established in the field while others do not have such notoriety but are professors at design courses in institutions around the world and have papers published in important journals. This multiplicity of points of view is considered enriching to the discussion of the theme. Finally, are presented premises to think about higher education in design in the present. PALAVRAS CHAVE: Pesquisa em design, Educação para o design, Ensino superior em design, Teorias de ensino do design
... Designers often need to navigate the complexities of the design problem and consider social and political issues, as well as experiential and spatial aspects. However, education often highlights independence and singularity over collaboration and multi-disciplinarity, now key components of the future of design (Heller and Talarico, 2011; Hunt, 2011; Friedman, 2012). The classic linear structure of a design project does not fit the real-world model, where team structures bring together various specialists to work on a design solution. ...
Conference Paper
Full-text available
Long before the invention of film, storytellers would wander the streets of different parts of the world enticing children to listen to stories contained in portable boxes with peep holes. These boxes served educational and entertainment purposes and brought the community together to share in spectacles of magic and wonder. This paper examines a design collaboration between university graphic design students and a public art organization in the Middle East to revive the magic of these traditional 'WonderBoxes' using emerging technologies in programming and manufacturing. The project methodology leveraged trans-media approaches to include the community in dynamic and interactive visual storytelling. Students employed cooperative tools for social inclusion by presenting the assembled boxes to the public. This action research explores the technological and participatory implications of reviving obsolete optical devices through contemporary design practice in support of cultural sustainability. The application of participatory action research to the project structure cultivated dynamic teamwork based on complementary design competencies. The methodology and findings of the study aim to support ongoing research into participatory approaches to collaboration in support of the integration of community-based activities in a pedagogical context.
... Collaboration in various forms (inter-, multi-, trans-disciplinary) claimed to be the preferred working model for future designers (e.g. Bennett, 2009; Ligon & Fong, 2009; Davis, 2011; Hunt, 2011). This begs the questions: What kind of designer is needed? ...
Article
Full-text available
Designers contribute increasingly to processes that drive economic, social and public innovations. To innovate successfully, cross-disciplinary teams are key. The kind of designer needed in these collaborative teams is described as T-shaped. The stem of the ‘T’ represents specialist knowledge of one or two areas; the horizontal bar stands for a broad understanding about other areas. While collaboration in various forms is the preferred working model for future designers, it is unclear how a T-shaped designer can be educated. This is particularly the case at undergraduate level where students are typically introduced to a wide range of subject areas. Therefore, the question investigated was: how can undergraduate design students learn the skills required for effective collaboration and thus develop a broad understanding of other disciplines while simultaneously continuing to develop their discipline-specific skills? A multidisciplinary learning and teaching model was trialled over a period of two years in an undergraduate digital media design degree. Quantitative and qualitative evidence in support of the development of T-shaped characteristics came from students and educators. https://www.materialthinking.org/sites/default/files/papers/SMT_Vol%2011_Paper%2003_Katja.pdf
... Steane (2010) In a world of growing complexity, what is the right thing to teach? Dubberly (2011) In fact, the best young designers are teaching themselves to code, and the best young engineers are teaching themselves to design. Is this a race? ...
Article
Full-text available
Since the introduction of digital media, design education has been challenged by the ongoing advancement of technology. Technological change has created unprecedented possibilities for designers to engage in the broadening realm of interactive digital media. The increasing sophistication of interactivity has brought a complexity which needs to be managed; most notably, information technology. The mobile device revolution has changed people’s lives and created distinct challenges for design educators to master. Social media provide new possibilities as/for teaching technologies to engage students. On the downside, designers compete with amateurs through crowd-sourcing platforms. Responses to manage the rapid technological advance in design education have emerged as pockets of innovation from some institutions. This paper takes a closer look at how technology has affected and continues to affect design education in the context of design educators and practitioners arguing that design education is stuck in the past. Does every technological “revolution” require a radical change in design education? To answer this question the broadening and squeezing of design education is examined in the context of the increasing complexity of technology. Potential and “must have” responses to technological challenges are illustrated through examples from an undergraduate digital media design major. https://www.jld.edu.au/article/view/144
... Problem-solving today often includes a multitude of other disciplines (e.g. Cullen, 1998; McCoy, 1998; Kerlow, 2001; Kelly, 2005; Whyte and Bessant, 2007; Dubberly, 2011; Hunt, 2011) and 'boundaries between design disciplines are more fluid' (Icograda, 2011:8), thus resulting in the growth of interdisciplinary knowledge. This situation is challenging for designers because in this 'complex, changing professional environment…design involves more skills and knowledge than one designer can hope to provide' (Friedman, 2000:21). ...
... Indeed, the increasing complexity of many digital media projects now demands collaboration between digital media designers and information technology experts. Dubberly (2011:80) describes this changed relationship: A designer's relation to a printer is very different than a designer's relation to a programmer. In both cases, a designer may develop a specification, but both the specifications and proceeding steps are very different. ...
Article
Full-text available
Increasing complexity is one of the most pertinent issues when discussing the role and future of design, designers and their education. The evolving nature of digital media technology has resulted in a profession in a state of flux with increasingly complex communication and design problems. The ability to collaborate and interact with other disciplines has recently been strongly articulated as an imperative skill for the future designer. How the education of such a designer is facilitated in practice is less well defined. The implementation of authentic problem-solving processes that introduce design students to workplace realities is often missing in design education. In order to manage the increasing complexities of design problems and technology a learning and teaching approach that facilitates the interaction of multiple disciplines was implemented and trialed over a period of two years in an undergraduate digital media design programme. This approach, known as the POOL model framework, is based on a ‘pool’ of resources and people to be applied as needed when responding to complex design problems. This paper focuses on the extent to which complex interactive design projects can be managed through multidisciplinary collaboration. Feedback from students and educators is presented and which reveals that the framework does provide an opportunity for students to resolve complex design and technological problems and contribute to project outcomes that could not be achieved when working individually. http://ojs.lboro.ac.uk/ojs/index.php/DATE/article/view/1875