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As additive manufacturing (AM) processes become more ubiquitous in engineering, design, and manufacturing, the need for a workforce skilled in designing for additive manufacturing (DfAM) has grown....

浅井忠は洋画家として活動する一方で，生涯に数多くの教科書を刊行したことでも知られている。最初に手がけた教科書は，画家としての本格的デビューより早い明治15年(1882)刊行の『習画帖』であり，没後に遺稿をもとに弟子たちが編纂した『訂正浅井自在画臨本』に至るまで多くの教科書を作成している。本論文では，浅井の美術教科書をめぐる二つの疑問の解決を試みた。ひとつは，どのような理由で浅井は明治15年の段階で『習画帖』を作成したのか，二つ目は，渡欧以来デザイン教育に興味を示した浅井の教科書になんらかの変化があったのかという点である。第1の点については，工部美術学校でのフォンタネージの指導が洋画制作だけではなく指導方法にも及んでいた点，その実践の場ともいうべき絵画指導の経験を共著者である高橋源吉の父である高橋由一から与えられた点から影響があったことを明らかにした。第2の点については，浅井が，1900年のパリ万博視察ののち，明治35年開校の京都高等工芸学校に転任して以降に出版した『新編自在画臨本』(明治39年)と『訂正浅井自在画臨本』(明治42年)を分析した結果，以下の結論を得た。『新編自在画臨本』には，それまでの浅井の教科書にはみられなかった図案制作についての指導が体系的に取り込まれている。とくに，それは工芸品の表面を飾る図案であった。一方，浅井の没後に，その遺稿を都鳥英喜，渡辺審也がまとめた『訂正浅井自在画臨本』では，全体のなかで図案関係のページが占める割合は増えているが，模様に関する項目が前後して配置されているため体系的な教育には向かない点，便化の例など図案制作の理論を示すページが増えており，工芸に即した図案づくりという点からは離れている点が指摘できた。, While active as a Western-style painter, Chu Asai is also known for the many textbooks he published during his lifetime. This paper attempts to answer two questions concerning Asai’s art textbooks. First, for what reason did Asai produce the “Shugacho” in 1882, and second, were there any changes in Asai’s textbooks after his staying Europe? Regarding the first point, we found that Fontanesi’s instruction at the Industrial Arts School of Japan was not only about creating Western-style paintings but also about teaching methods, and that Takahashi Yuichi, the father of co-author Takahashi Genkichi, gave Asai the experience of teaching painting, which could be called a practical example of such instruction. For the second point, two textbooks were compared: one was the “Shinpen Jizai-ga Rinpon” (1906), and the other was the “Teisei Asai Jizai-ga Rinpon” (1909), which was compiled after Asai’s death by his students. As a result, their respective characteristics can be summarized as follows. The “Shinpen” systematically incorporated instruction on the creation of designs, which had not been included in Asai’s previous textbooks. On the other hand, the “Teisei” contains more pages on design in its entirety, but the items on pattern are placed back to back, making it unsuitable for systematic instruction., 特集 : 近代京都と文化, Special Issue : Modern Kyoto Culture

International audience; The progress of science and technology has considerably increased the quality of life - especially the material standard of living - (e.g. disappearance of famines, increase in life expectancy) On the other hand, climate change, reduction of biodiversity, decrease of natural resources, and increase of environmental risks are some of the consequences of this human activities. Addressing these new challenges will require holistic comprehension and actionable approaches. The mitigation of these consequences requires effective responses in terms of transition. In this context, engineering and design students need time but also adapted curricula focused on sustainability and eco design concepts to support evolution of their skills, their knowledge and their culture. This article discusses the integration of a strong sustainability knowledge within the ideation process through a pedagogical experience, in order to develop new knowledge-based approaches, methodologies and tools

Turkish Steel Exporters’ Association (İMMİB) Industrial Design Competition is important both for professionals and students among Turkish designer community for many reasons. In addition to its nationwide recognition, the winners are awarded with many monetary and non-monetary benefits. Particularly the international scholarship for graduate education is a major motivating factor for students for participating to the competition. The main objective of this study is to reveal school related factors that affect İMMİB Industrial Design Competition student category results. For this reason, data on 2015-2020 İMMİB Industrial Design Competition winners have been analysed. The analysis has been carried out by doing document analysis from secondary sources and applying an on-line survey to the winners. A total of 92 prizes have been distributed between 2015-2020 to 84 students. Out of 84 students, 42 participated to the survey and 40 valid responses were obtained. Results reveal that i) the older the department, the higher the frequency of winners coming from that particular university, ii) for students coming from universities adopting the central examination system, the majority of students have relatively high entrance exam scores, iii) the majority of the projects are done during course hours at school, particularly in the case of privately owned universities. This paper discusses the reasons and the outcomes of working competition projects during course hours particularly design studio courses. Ethics and privacy are revealed as potential problem areas as an outcome of carrying out the competition preparation during course hours.

Creativity is a wanted and desirable human skill. When examined through the viewpoint ofa fundamental exertion, much of the time, educators are asked or urged to encourage creative thinkingin the classroom. However, do the educators’ definition and criteria of creativity match up with students’creations? In this article, the question whether students who take the national entrance examination orwho take the aptitude tests to study at university are more creative in the sense of Guilford’s (1950, 1967a)concepts of divergent thinking, curiosity, fluency, flexibility, elaboration and originality was elaborated. Inorder to achieve that aim, selections of works of the same professor’s students when he was teaching atseveral different universities between 2018-2020 in Turkey have been chosen and clustered as re-evaluatedaccording to the adoptions of Guilford’s concepts of creativity. In the end, it was found out that students whotake the national entrance examination are more divergent in their thinking while being less curious, fluent,flexible, elaborate and original than their peers who take the aptitude tests., Yaratıcılık, en gerekli ve değerli insan yeteneklerinden biridir. Temel bir bakış açısıyla incelendiğinde,çoğu zaman eğitimcilerin, sınıftaki öğrencileri yaratıcı düşünmeye teşvik etmeleri beklenir ya da istenir.Fakat bu amacın gerçekleştirilmesi için öncelikle başka bir faktörün incelenmesi gerekmektedir. Eğitimcilerinyaratıcılık tanımı ve kriterleri ile öğrencilerin yaratımları örtüşmekte midir? Bu makalede, Guilford’un (1950,1967a) ıraksak düşünme, merak, akıcılık, esneklik, detaylandırma ve özgünlük kavramları bağlamında, AYT(Alan Yeterlilik Testi) ya da ÖYS (Özel Yetenek Sınavı) ile Güzel Sanatlar ya da Sanat ve Tasarım Fakülte’lerininGrafik Tasarım, Görsel İletişim Tasarımı ve İletişim Tasarımı Bölümlerinin birine giren öğrencilerdenhangilerinin ilerideki eğitim dönemleri içerisinde daha yaratıcı oldukları irdelenmiştir. Bu doğrultuda,aynı profesörün 2018-2020 yılları arasında Türkiye’de birçok farklı üniversitede ders verdiği öğrencilerininçalışmalarından seçmeler yapılmış ve Guilford’un yaratıcılık kavramlarına göre yeniden değerlendirilerekkümelenmiştir. Sonuç olarak, AYT ile giren öğrencilerin yetenek sınavı ile giren akranlarına göre daha azmeraklı, akıcı, esnek, ayrıntılı ve özgün oldukları tespit edilmiştir.

In this case study, the research team (RT) explores user experience design in relation to digital practices adopted by governments. The goal of this first phase was to identify research opportunities. To do so, the RT adopted a practice-centered participatory research approach (Holkup, 2004). The RT began a partnership with a municipal government (City of Edmonton). Regular meetings were held with the partner organization to discuss—among other things—the organization’s structure, current and future projects, the digital editorial strategies implemented by the organization, and the organization's issues and constraints when designing digital services. This allowed the teams to identify not only interesting research questions but also potential teaching collaborations related to work-integrated learning. In this paper, the practice-based participatory research approach is explained, the timeline and the outcome of the partnership are presented, and the lessons learned through that process are shared., Dans cette étude de cas, l’équipe de recherche (ER) explore le design d’expérience utilisateur en relation avec les pratiques de communication numérique adoptées par les gouvernements. L’objectif de cette première phase était d’identifier opportunités de recherche. Pour ce faire, l’ER a adopté une approche de recherche participative dirigée par la pratique (Holkup, 2004). L’ER est entrée en partenariat avec une ville canadienne (Edmonton). Des rencontres régulières ont été organisées avec l’organisme partenaire pour discuter, entre autres, de sa structure, de ses projets actuels et futurs, des stratégies éditoriales numériques mises en œuvre, ainsi que des enjeux et contraintes rencontrés lors de la conception de services numériques. Cela a permis aux équipes d’identifier non seulement des questions de recherche intéressantes, mais aussi des collaborations pédagogiques liées à l’apprentissage intégré au travail. Dans cet article, nous expliquons l’approche de recherche participative dirigée par la pratique, présentons le calendrier et les résultats du partenariat, et partageons les leçons tirées de cette démarche.

In order to achieve successful products and services, design research nowadays is searching for new methods that unify collaboration between professional designers and future users. Developing and using these new design methods is also of interest in design education. In this study, design toolkits are developed to practise participatory design with a user-centric orientation. The purpose of this study is to analyse a case in higher education where students of art and design aimed at becoming craft teachers developed toolkits in design situations appointed beforehand. The literature review of the toolkit shows that a diverse and multidisciplinary field of applications has been developed. The data of the study consist of 24 virtual or physical toolkits made by the students as well as their reflections on their work. The results showed that executing a design process where students in a design situation had to enter into the future user's world creates empathy for designers. Also, various elements connected with the unifying of senses and physical activities were built into the toolkits as well as certain game-like features. The results of this study can be used as basic data concerning making educational insights in design education in higher education.

the lack of a unified view of scientists on its definition. It emphasizes that the use of digital tools in the educational process, without changing the pedagogical approach, is not digital pedagogy. In digital pedagogy, the content and organization of the pedagogical process of the designer training changes, and the teacher’s work is conceptually transforms. At the same time, the research indicates that the digital pedagogy does not exclude the possibility of using traditional pedagogical methods together with the innovative ones. The article emphasizes the age difference in the perception of digital technologies in education of the older and younger generations. The author sees the problem of introducing digital pedagogy into the educational process of training future designers, in the absence of developed and tested theoretical concepts of simple scenarios of educational activities, developed by talented practicing teachers. We can later use said concepts to develop complex methodological developments that would be accessible and easy to use. The types of tasks performed by a modern designer and their scale have increased. The result of his work, more frequently, is a product that is quite specific and is not similar to the craft design products. One of the important factors in the process of training a designer is the individualization of training, taking into account the dominant representative system of the future specialists and their acquisition of teamwork competencies based on mutual complementarity. The tools of digital pedagogy have multiple opportunities to implement the individualized training of future design specialists through the creation of a digital pedagogical environment that corresponds to a certain type of personality perception. The article indicates the expediency of developing educational programs in accordance with eight norms: the choice of methods, customization according to specific features, clarity, integrity, cooperation, interest, accessibility and innovation., У статті розкривається сутність терміна “цифрова педагогіка“ та основоположні підходи до впровадження цифрової педагогіки в дизайн-освіту. Вказується на необхідність кардинальних змістовних і організаційних змін педагогічного процесу з використанням новітніх цифрових педагогічних інструментів, при цьому не відкидається можливість використання випробуваних традиційних педагогічних принципів. Пропонуються шляхи для ефективного використання потенціалу цифрової педагогіки. Наголошується на широкому спектрі її можливостей враховувати індивідуальні особливості кожного здобувача дизайн-освіти, при проєктуванні навчального процесу.

The aim of the articleis to analyse the thematic content and technical methods used in the Ukrainian collage created after the full-scale russian invasion on 24 February 2022. The resultsare the analysis of the student exhibition project of design collagesBeyond, created within the discipline "Design-projection" and dedicated to the theme of russian aggression. Following the subject of practical tasks of the course – visual metaphor and visual allegory – young designers managed to create works that have been exhibited both domestically and internationally. Scientific novelty.The corpus of graphic collages created mainly by the young generation of designers during the war and which capture the artistic reflections on the tragic events of 2022 are described, analysed, and introduced into scientific circulation. The main thematic directions are defined, the style and technical method of execution are diagnosed. Conclusions.The works analysed in the article are a priceless manifestation of time, because they are made in stressful conditions: under shelling, without proper technical equipment, however, they are emotional reflections of reality, transferred to paper in the style of a collage. There is a revival of the Ukrainian collage tradition of the 1920s and 1930s, which emerged under the influence of constructivism and absorbed the best achievements of the Bauhaus school and was mostly used in publishing. Today, thanks to the development of computer technologies, collage demonstrates the ability to reproduce a wide range of thoughts and experiences of our contemporaries in an expressive manner of media art faster than other classical and established forms of visual art. Using such traditional forms of its existence as a paper work from newspaper and magazine clippings, collage masters also use modern graphic editors to create both two-dimensional and three-dimensional, and moving art objects. In the field of distribution of collage works, changes are taking place from physical display as part of practical exhibition activities to virtualisation through distribution in social networks.

The aim of the article is to analyse the thematic content and technical methods used in the Ukrainian collage created after the full-scale russian invasion on 24 February 2022. The results are the analysis of the student exhibition project of design collages Beyond, created within the discipline "Design-projection" and dedicated to the theme of russian aggression. Following the subject of practical tasks of the course – visual metaphor and visual allegory – young designers managed to create works that have been exhibited both domestically and internationally. Scientific novelty. The corpus of graphic collages created mainly by the young generation of designers during the war and which capture the artistic reflections on the tragic events of 2022 are described, analysed, and introduced into scientific circulation. The main thematic directions are defined, the style and technical method of execution are diagnosed. Conclusions. The works analysed in the article are a priceless manifestation of time, because they are made in stressful conditions: under shelling, without proper technical equipment, however, they are emotional reflections of reality, transferred to paper in the style of a collage. There is a revival of the Ukrainian collage tradition of the 1920s and 1930s, which emerged under the influence of constructivism and absorbed the best achievements of the Bauhaus school and was mostly used in publishing. Today, thanks to the development of computer technologies, collage demonstrates the ability to reproduce a wide range of thoughts and experiences of our contemporaries in an expressive manner of media art faster than other classical and established forms of visual art. Using such traditional forms of its existence as a paper work from newspaper and magazine clippings, collage masters also use modern graphic editors to create both two-dimensional and three-dimensional, and moving art objects. In the field of distribution of collage works, changes are taking place from physical display as part of practical exhibition activities to virtualisation through distribution in social networks., Мета статті – проаналізувати тематичне наповнення й технічні способи виконання українського колажу періоду після повномасштабного російського вторгнення 24 лютого 2022 р. Результатами дослідження є аналіз студентського виставкового проєкту дизайнерських колажів «За межами», створеного в курсі дисципліни «Дизайн-проєктування» і присвяченого темі російської агресії. Відповідно до тематики практичних завдань курсу – візуальна метафора й візуальна алегорія –молодим дизайнерам вдалося створити роботи, які було продемонстровано на вітчизняних і міжнародних локаціях. Наукова новизна. Описано, проаналізовано й введено в науковий обіг корпус графічних колажів, які створило здебільшого молоде покоління дизайнерів під час війни і які фіксують мистецьку рефлексію трагічних подій 2022 р. Визначено основні тематичні напрями, діагностовано стилістику й технічний спосіб виконання. Висновки. Описані твори є безцінним виявом часу, оскільки зроблені в стресовій ситуації: під обстрілами, без належних технічних умов, проте вони є емоційними відбитками реальності, перекладеними на аркуші в стилістиці колажу. Спостерігається відродження традиції українського колажу 1920-1930-х рр., який виник під впливом конструктивізму, увібрав у себе найкращі досягнення школи Баугауз і застосовувався здебільшого у видавничій продукції. Сьогодні колаж завдяки розвитку комп’ютерних технологій демонструє здатність швидше, ніж інші класичні й усталені різновиди образотворчого мистецтва, відтворити широкий спектр думок та переживань наших сучасників в експресивній манері медіа-арту. Використовуючи такі традиційні форми свого існування, як паперовий твір із газетно-журнальних вирізок, майстри коллажу вдаються також до опанування сучасних графічних редакторів для створення як двовимірних, так і тривимірних та рухомих мистецьких об’єктів. У сфері поширення колажних творів відбуваються зміни від фізичного експонування в межах практичної виставкової діяльності до віртуалізації через поширення в соціальних мережах.

Designing and implementing full-scale models by architecture students is one of the most difficult and uncommon experiences in design education. The study evaluates the impact of this experience on the development of creative design skills among first-year students. This is achieved by applying a methodology that combines quantitative analysis of learning outcomes, especially those associated with the skills of Basic Design courses, with qualitative analysis of sketches, scaled and full models, and video recordings of students during design and implementation stages. This study provides experimental support for the use of full-scale models in design education to develop students’ creative skills, in addition to discussing opportunities and challenges to help faculty and researchers in the field of design education.

This scientific article is aimed at studying the problem of fostering creativity in future designers in the context of labour market requirements and taking into account the latest trends in design. The analysis of modern approaches to the educational process in the field of design at the institutional level and the compliance of educational services with the needs of the labor market was carried out. It was found that the creative educational environment of the educational institution best contributes to the development of creativity in future designers. The determining factors of the educational environment are revealed. It has been proven that educating students in a creative educational environment affects their creativity and further motivation for success. A conclusion was made about the need to create a creative and innovative educational environment in educational institutions., Наукова стаття спрямована на дослідження проблеми розвитку креативності в майбутніх дизайнерів у контексті вимог ринку та з урахуванням останніх тенденцій мистецтва дизайну. Проаналізовано сучасні підходи до освітнього процесу в галузі дизайну, виявлено визначальні фактори креативного освітнього середовища навчального закладу. Акцентується на тому, що вчителі та адміністрація мають бути творчими та дбати про середовище, яке стимулює розвиток креативності учнів. Визначальними рисами креативного освітнього середовища є: демократичні стосунки між усіма учасниками навчального процесу та керівництвом закладу, повага до індивідуальності кожної особистості, взаєморозуміння між працівниками, відданість справі, прагнення підвищити успішність учнів. Проведений аналіз дидактичних форм і методів засвідчив необхідність застосування евристичних стратегій, проблемного навчання, ігрових, проективних, інтерактивних технологій тощо, а також сучасних педагогічних прийомів (до прикладу, прийом «шість капелюхів»), які стимулюють креативність майбутніх дизайнерів.

The review article presents the terminological discourse of the issue of training future bachelors of graphic design for calligraphy usage in professional activities, which includes such terms as “art education,” “design-education,” “design,” “graphic design,” “calligraphy,” “font,” “font design,” “national font design,” etc. The essence of design as a form of art aimed at the artistic construction of the subject space by applying the potential of artistic and industrial production, decorative and applied art with the aim of aestheticizing everyday life, the professional environment on the basis of national, ethnic, cultural identity has been clarified. The analysis of the category “graphic design” has made it possible to clarify its definition as a type of design, the purpose of which is to provide visual communication and project visual and meaningful images, and signs through simultaneous artistic, project, technical, design activities and information technologies used for the purpose of visualization and aestheticization of the environment, creation of a high-quality information space at the enterprise, in the community, at the state level, etc. The author’s definition of national font design as a process of creating and reproducing fonts based on cultural traditions and historical features of certain people with the aim of preserving national identity is substantiated. It has been found that in modern art education, design education, primarily in the training of designers in institutions of higher art education, the problem of updating the content, forms, and methods of using calligraphy and font design on the basis of national traditions, substantiating the methodological principles of reproduction and creation of Ukrainian typefaces is actualized forms, typography, font using samples of national culture. Today, the national preservation principles of font design require a new understanding, the affirmation of traditions, and the study of historical experience, as well as the use of modern digital technologies, which will enable the strengthening of national identity in the field of design education., В оглядовій статті представлено термінологічний дискурс проблеми підготовки майбутніх бакалаврів графічного дизайну до застосування каліграфії у професійній діяльності, що включає такі терміносполуки, як: «мистецька освіта», «дизайн-освіта», «дизайн», «графічний дизайн», «каліграфія», «шрифт», «шрифтовий дизайн» тощо. Обґрунтовано авторську дефініцію «національний шрифтовий дизайн». З’ясовано, що в сучасній підготовці дизайнерів у закладах вищої мистецької освіти актуалізується проблема оновлення змісту, форм, методів і технологій, зокрема цифрових, використання каліграфії, шрифтового дизайну на засадах національних традицій, обґрунтування методичних підходів до відтворення і створення українських шрифтових форм, типографіки, шрифту з використанням взірців національної культури. Наголошується на націєзбережувальних засадах шрифтового дизайну, що сприятиме утвердженню традицій, зміцненню національної ідентичності.

The study of speculative designs such as futures, critical design alternatives, or catalysts for reflection is well documented in the design research community. The literature is also profuse in approaches for designing speculations, but it lacks attention to speculative designs as objects in the service of a pedagogical practice. This paper reports on a two-year cross European research project investigating speculative designs in higher education contexts. We describe a broad data set including interviews, surveys, case studies and workshops undertaken with educators and students. Drawing on the results of this study, our contribution is eight tension-patterns, each an interplay between opposing tendencies that educators and students need to address, more or less explicitly, when creating speculative designs. We then discuss how these tension-patterns can support the design and analysis of speculative designs in educational settings while accommodating different disciplinary, methodological and material constraints. Finally, we conclude with a brief note on two important challenges: balancing creativity and criticism and moving beyond specialized courses.

The study of speculative designs such as futures, critical design alternatives, or catalysts for reflection is well documented in the design research community. The literature is also profuse in approaches for designing speculations, but it lacks attention to speculative designs as objects in the service of a pedagogical practice. This paper reports on a two-year cross European research project investigating speculative designs in higher education contexts. We describe a broad data set including interviews, surveys, case studies and workshops undertaken with educators and students. Drawing on the results of this study, our contribution is eight tension-patterns, each an interplay between opposing tendencies that educators and students need to address, more or less explicitly, when creating speculative designs. We then discuss how these tension-patterns can support the design and analysis of speculative designs in educational settings while accommodating different disciplinary, methodological and material constraints. Finally, we conclude with a brief note on two important challenges: balancing creativity and criticism and moving beyond specialized courses.

The study of speculative designs such as futures, critical design alternatives, or catalysts for reflection is well documented in the design research community. The literature is also profuse in approaches for designing speculations, but it lacks attention to speculative designs as objects in the service of a pedagogical practice. This paper reports on a two-year cross European research project investigating speculative designs in higher education contexts. We describe a broad data set including interviews, surveys, case studies and workshops undertaken with educators and students. Drawing on the results of this study, our contribution is eight tension-patterns, each an interplay between opposing tendencies that educators and students need to address, more or less explicitly, when creating speculative designs. We then discuss how these tension-patterns can support the design and analysis of speculative designs in educational settings while accommodating different disciplinary, methodological and material constraints. Finally, we conclude with a brief note on two important challenges: balancing creativity and criticism and moving beyond specialized courses.

open access article Design and engineering are fundamental activities in shaping the world we live in. Educating new generations in design and engineering, therefore, is crucial to build a better and more sustainable world. The changes in education for the transition from a linear economy to a circular economy, in particular, has become a priority for many educators. Aligned with the circular economy, a promising umbrella concept and practice called 'upcycling' is emerging. The concepts and practices in the circular economy and upcycling overlap depending on the definitions of the terms in various disciplines and sectors in different parts of the world. This has caused some confusion and misunderstanding. For educators aiming to teach students about sustainable design, production and consumption, it is beneficial to distinguish between these two concepts. Understanding the relationships (or interrelationships) between them in theory and practice is important for the educators to offer clear guidance and recommendations to future designers and engineers. This paper provides literature review on upcycling and circular economy, compares these two concepts, and visualises their interrelationship as draft teaching materials for design education.

İç mimarlık eğitiminde tasarım stüdyo derslerinin içerikleri incelendiği zaman bu derslerin bölümün temelini oluşturduğu görülmektedir. Stüdyo derslerinde öğrenciler; konsept tasarımı, mekân kurgusu, malzeme, yapı sistemi, ince yapı, mobilya, doku, ışık, ses gibi iç mimarlık disiplini altındaki birçok konuyu ele aldıkları proje tabanlı bir eğitimden geçerler. Bu derslerden elde edilen çıktıların yanı sıra dönem içerisindeki tasarım süreci ve aşamaları da büyük öneme sahiptir. Günümüz tasarım anlayışı dijitalleşme aşamasını tamamlamış, bunun da ötesine geçerek sanal gerçeklik ve kurgu mekânlar üzerinde varlığını ve baskısını hissettirmeye başlamıştır. İç mimarlık gibi tasarım ve proje odaklı bölümlerin çağın gerekliliklerine ayak uydurması ve gelecek taleplerin karşılanabilmesi, öncü ve geleceği tasarlayabilen bireyler yetiştirebilmesi amacı ile sanal gerçeklik uygulamalarının tasarım stüdyo derslerinin kurgularında yer alması gerekliliği doğmuştur. Bu çalışma kapsamında mevcut iç mimarlık proje derslerinin araç ve gereçleri, amaçları, çıktıları sorgulanmakta, iç mimarlık proje temelli tasarım stüdyosu derslerine sanal gerçeklik uygulamalarının dâhil edilmesinin gerekliliği vurgulanmakta ve eğitime katkıları ortaya konulmaktadır. When the contents of the design studio courses in Interior Architecture education are examined, it is seen that these courses form the basis of the department. In studio classes, students; they go through a project-based training in which they deal with many subjects under the discipline of interior architecture, such as concept design, space setup, material, building system, fine structure, furniture, texture, light and sound. In addition to the outputs obtained from these courses, the design process and stages during the semester are also of great importance. Today's understanding of design has completed the digitalization stage, and has gone beyond this and started to make its presence and pressure felt on virtual reality and fictional spaces. It has become necessary for design and project-oriented departments such as interior architecture to keep up with the requirements of the age and meet future demands, and to include virtual reality applications in the design studio courses in order to raise individuals who are pioneers and can design the future. Within the scope of this study, the tools and materials, aims and outputs of the current interior architecture design studio courses are questioned, the necessity of including virtual reality applications in interior architecture project-based design studio courses is emphasized and their contribution to education is revealed. Publisher's Version

Innovations in education need to be accelerated to address the grand challenges in our society more adequately. We indicate the need for more collaboration with external stakeholders and for self-reflection. We refer to Challenge-Based Learning, an educational concept developed in engineering education, as a step in transforming education in response to societal changes, where students develop new capacities and are empowered to gain more ownership of their own learning. We highlight the role of design and designers in developing the capacities needed by students and teachers, and detail the necessary changes in the role and responsibilities of learners and teachers.

Transitioning from a linear economy to a circular economy (CE) requires changes in education at all levels, especially in higher education. The changes in education for the transformation towards CE in both formal and informal settings will eventually inform, inspire, and affect professional practices in industries in a positive way. Aligned with CE, a promising umbrella concept and practice called ‘upcycling’ is emerging. The concepts and practices of CE and upcycling overlap depending on the diverse definitions of the terms provided by academics and practitioners in various disciplines and sectors in different parts of the world. This has caused some confusions and misunderstanding by some academics and professionals. For teachers and training providers that aim to teach students and professionals about sustainable production and consumption including upcycling and CE, it is beneficial to distinguish between these two concepts. Understanding the interrelationships between them in theory and practice is important to provide researchers and practitioners with a clear guidance and recommendations. This study aimed to explore how we should understand and teach upcycling in the context of CE utilising a Delphi method. This short paper presents the literature review and preliminary analysis results based on the first phase of Delphi: definitions of upcycling and CE, comparisons between upcycling and CE, upcycling as part of CE (or interrelationships between them), and effective ways to communicate the aforementioned contents.

Sustainable production transition requires new paradigms and strategies, as well as alternative materials. Recently, an increasing number of innovative materials were developed. Such novelties greatly affected the design practice, widening the materic possibilities for designed products. However, traditional material classification does not apply well for these new materials trend. In this paper, the authors cooperated with design students to identify an iterative tracing activity of the new material trends for design, finalised to embed in the same work new tendencies that may rise in future.

Extant research indicates that Chinese higher education has overlooked creativity. However, based on indirect clues, we infer that the degree of emphasis on creativity and related courses in Chinese higher education has changed. Therefore, we conducted a survey using a questionnaire to compare the creativity-related courses and adopted creativity methods in higher education between China and developed countries. The results indicate that participation rates and assessments of creativity-related courses, adopted creativity methods, and evaluations differ between China and developed countries.

Earlier studies have indicated that mood boards have notable potential. The impact of collectively created mood boards on individual ideation, however, has not been thoroughly studied. This article demonstrates how to bring together collaborative and individual elements in design education. We analysed the role of specific, collectively created, mood boards in student-level conceptual design and how students describe this role. We asked the eleven craft education students participating in this study to develop shared mood boards in team design sessions, and to individually design an outfit utilizing a mood board. The data (i.e. video-recorded interviews, students’ visual and material artefacts, notes) were analysed qualitatively. The results indicated that the shared mood boards played an active role in the students’ processes by expanding their creative idea space and providing a context for their idea development. Our findings could be beneficial for developing craft education by combining collaborative and individual efforts.

In new product development courses, engineering students are introduced to the tools for addressing the functional or technical issues of the product. Problems arise when they need to empathise with the user to better understand how the product can be used in different contexts. To address this problem, we propose the use of storyboards as a tool to explore user behaviour and to clarify functions of the future product. The study results confirmed that storyboards are a suitable tool for understanding user-product interaction, however, the several problems encountered by the participants were outlined.

There have been many studies on the effectiveness of the STEAM model since its integration into design education, but further investigation is needed to determine whether teachers and students truly understand the meaning of STEAM. The aim of this study is to evaluate people’s perceptions of the STEAM model in design education. Respondents from four universities on both sides of the Taiwan Strait participated in the study. Following expert evaluation and a number of tests, the revised questionnaire was used to survey the attitudes of respondents. The results indicate the following: (1) Respondents were more familiar with universities in their area and therefore rated them relatively highly. While this is reasonable, it suggests that respondents may lack a global perspective. (2) The proportion of arts courses is generally high, but further analysis is required to determine whether they in fact play a role in connecting to STEM. This study concluded that educators and researchers need to have a deep understanding of the essence and connotations of STEAM. Students must also consider how to acquire the knowledge and skills needed for 21st-century design through STEAM courses. Furthermore, the use of STEAM in design education needs to be continuously evaluated and improved.

The Pluriversal Design Education working group met from April – September of 2021. This publication contains the results of their discussions. This document shares the detailed content that led to the ten Big Ideas shared through the FDE initiative. The document opens with an essay that supports the readers’ understanding of the core concepts that ground the big ideas. This essay was part of a draft that the working group aimed to publish in a journal. This is followed by a detailed description of curriculum content, and finally, the list of the ten Big Ideas is presented. This is a working document, and we look forward to seeing how the pluriversal design community builds on it.&nbsp

This qualitative case study explores the work process and challenges faced by design practitioners in Bangladesh in adopting human-centered design (HCD) methodologies. The study is based on interviews with 50 participants from various industries and provides valuable insights into the design process and challenges faced by designers in Bangladesh. The findings emphasize the importance of promoting a collaborative environment, access to quality education and resources, and designing education and communication improvements to support the adoption of HCD methodologies. The study provides a deeper understanding of the design process and challenges faced by designers in Bangladesh and highlights the need for ongoing improvement in design education, communication, and collaboration.

Cognitive development is one of the important aspects related to the stages of a child's ability to acquire interpretation and knowledge based on experience and information obtained. One of ways to stimulate children's cognitive development is through the use of open-ended toys. Open-ended toys are a type of toys that provides space for interpretation and can be used in various ways, thereby triggering children's creativity. The purpose of this research was to analyze the use of open-ended toys in stimulating the cognitive development of children aged 1-3 years old in the pandemic era. The method used in this study is qualitative, namely a descriptive analysis of the function aspect of three kinds open-ended toys. Data obtained through literature study, observation, interviews, and documentation. In this research, theory about the stages of children's play development according to Piaget was used. Based on the results of the analysis, it can be seen open-ended toys in the form of puzzles, building blocks, and animal figurines can stimulate children's cognitive development by increasing children's concentration range, language skills, fine motor skills, and gross motor skills in children aged 1-3 years old in the era of the covid-19 pandemic.

This paper presents a project-based product design course, which is the only course on product design in our curriculum. We noticed that the building of a prototype is often omitted in academic teaching. However, students benefit from building a prototype of their design. Hence, we reduced the theoretical content to give students time to design and build a prototype. To illustrate the course two student projects are shown. We want to motivate lecturers to introduce prototyping to courses, since our experience is that the benefits of building a prototype outweigh the decrease in theoretical knowledge.

Through the lens of sensory affect, this book offers a new way of thinking about day-to-day teaching and student engagement within learning spaces in design education. The book examines the definitions, concepts, ideas, and overlaps of a repertoire of learning spaces prevalent in higher education and addresses the pedagogical gap that exists between broader learning structures and spaces, and the requirements of specialist design education. Recognising that mainstream teaching environments impact upon design studio learning and student engagement, the book positions creative learning spaces at the heart of practice-based learning. It defines the underlying pedagogical philosophy of a creative learning space in design education and reports on how practical strategies incorporating sensory affect may be implemented by educators to foster better student engagement in these spaces within higher education. Bringing much-needed attention to specialist design teaching and learning spaces in higher education, this book will be of interest to educators, researchers, and post-graduate students immersed in design education, pedagogy, and learning spaces more broadly.

Creativity is acknowledged as an essential component of the design process and considered a key design graduate attribute. Despite this assertion, several studies have highlighted that the teaching of creativity in design education is often implicit rather than explicit. Moreover, there is a paucity of research on product design students’ experience of creativity in design education, leaving a gap in knowledge relevant to how creativity may be better fostered in design education. In this study, reflexive thematic analysis was used to analyse the data from online focus groups conducted with product design students. The three themes constructed provide insights into how students perceive and engage with creativity. Theme 1, the influence of social factors on creativity, uncovers the diametric effect students’ social eco-system can have on their creativity. These include an aversion to being associated with it due to weight of expectation and negative perceptions around creativity, as well as the ‘invisible support system’ created by peers. Theme 2, sanctuary seeking tendencies of novice design students, reveals behaviours that oppose essential creative attributes: a freedom from risk and ambiguity and desire for certainty and achievability. Theme 3, tension between passion for and pursuit of creativity, outlines the conflict between participants’ ideologies and actions when pursuing creativity highlighting a reluctance to utilise structured creativity tools while gravitating towards unstructured methods such as ‘relaxed attention’. Together, the three themes form a picture of product design students’ complex relationship with creativity and importance of self-efficacy. The findings of this study make an important contribution to our understanding of design students’ perception of, and engagement with, creativity in design education. As such these findings are relevant for both design education and future creativity tool development.

This paper analyses the use of design methods and information and communication technology (ICTs)tools in design sprint (DS) activities. Team members, team leaders, and coaches of five international student teams were interviewed (40 interviews in total) regarding their use of design methods and ICT tools during three DS activities: problem definition, conceptual design, and embodiment design. The results show that teams utilise various methods through three approaches: one method for the task, several methods for the task, or adjusting methods. Teams considered several aspects when deciding which method to utilise: the possibility of work distribution, the time needed to execute the method and their prior experience in using the method. The results on using ICT tools suggest that teams mainly use the collaborative whiteboard and Computer-aided design (CAD). In this context, tools that enable continuous sharing of the work in progress (e.g., cloud-based tools) show great potential for DS activities. Finally, the results show a potential to integrate various tools in order to enable easy transition between tasks (e.g., a transition from collaborative whiteboard to CAD modelling).

Design education utilising digital fabrication is characterised by a dynamic project-based learning environment in which ideas are embodied in prototypes. This environment affects the way design and fabrication activities are taught, including sustainability considerations in the process and the outcomes. With the objectives of refining the sustainability indicators in the context of digital fabrication design education and identifying educational interventions for improving sustainability, we analyse the processes and outcomes of a digital fabrication course. We further develop a conceptual framework for sustainable prototyping based on the prototyping and testing stages in the design thinking model. The sustainability considerations in the prototyping process and outcomes in the design education context in FabLab are exemplified. The findings will help enhance sustainability and develop interventions in the context of design education.

Культура современного общества знаний требует повышения качества подготовки специалистов дизайна в конструировании и проектировании объектов визуальной культуры. Актуальность статьи раскрывает установку на будущее. Цель статьи: показать действенность конструктивистского подхода к рациональному построению изображений на основе знаний. Педагогический конструктивизм использует методы визуализации знаний, алгоритмический и проблемно-эвристический. В учебном конструировании объектов применяются методы геометрического обобщения и художественных интерпретаций. Обучение построению пространственной структуры объекта знаково-символическими средствами геометрического языка позволяет педагогу и студентам контролировать и корректировать каждый шаг процесса и в результате более качественно достигать целей. Научная новизна заключается в разработанности технологии обучения студентов построению изображений, формирующей самоуправление и самоконтроль применения знаний., The culture of the modern knowledge society requires an increase in the quality of training of design specialists in the modelling and construction of objects of visual culture. The relevance of the article reveals the installation for the future. The purpose of the article is to show the effectiveness of the constructivist approach to the rational construction of images based on knowledge. Pedagogical constructivism uses knowledge visualization methods, algorithmic and problem-heuristic. In the educational design of objects, methods of geometric generalization and artistic interpretations are used. Teaching the construction of the spatial structure of an object using sign-symbolic means of a geometric language allows the teacher and students to control and correct each step of the process and, as a result, achieve goals more efficiently. The scientific novelty lies in the development of the technology for teaching students in the structure of images, which forms self-government and self-control of the application of knowledge.

Thesis submitted to the Yale Gordon College of Arts and Sciences of The University of Baltimore in partial fulfillment of the requirements for the degree of Master of Fine Arts in Integrated Design, M.F.A. -- The University of Baltimore, 2023, Black, Brown, Latinx, and people of color are underrepresented in the design industry, especially in relation to the reported demographics of the labor force. Recent events such as the COVID-19 Pandemic and prominence of the Black Lives Matter movement have brought a reckoning to many fields about diversity, including the design field. While efforts in recent years have been made to address this issue, there is still a large amount of work to be done to overcome the white supremacist norms that are embedded in our field, as well as within the educational system. While student learning objectives (SLOs) are not inherently racist, it is important to consider how teaching practices and materials may contribute to systemic racism and how we might create more inclusive, culturally responsive learning environments for all students. Through surveys of design students and focus groups with students/designers of color, I have developed a tool for design educators to reexamine learning outcomes as a way to embed diversity, equity, and inclusion more intentionally throughout their programs and courses. This tool can be used to regularly review and reflect on one’s own teaching practices, raising awareness of potential bias and bringing awareness to outdated, non-inclusive language.

The capability to thrive in uncertain and complex work situations that are beyond known routines and limits is key to the future of work (World Economic Forum, 2020). At the same time, higher education institutions are increasingly challenged by complexity, change, and ambiguity. Working with ambiguity is a familiar concept in design practice and education, particularly in studio-based learning, and it has further significance for higher education more broadly as a constructive force that supports learning. The chapter conceives of ambiguity as culturally and socially constructed in its context of use, and offers a series of provocations for a pedagogy of ambiguity to support the transformation of teaching and learning in higher education today.

Humanities, Arts and Social Sciences Studies, 23, 1, 66-79

İletişim, her alanda olduğu gibi tasarım alanında da vazgeçilmezlerden birisi olarak var olur. Bu noktada tasarım alanında gerekli iletişimin sağlanmasında birçok teknik ve yöntem mevcuttur. Geçmişten günümüze eskiz, çizim, üretim çizimleri, maket, bilgisayar destekli tasarım programları (vb.) konvansiyonel ve tradisyonel olarak tasarım alanındaki iletişimde kullanılan teknikler olarak ifade edilebilir. Gelişen teknoloji ile beraber bilgisayar destekli tasarım, yazılım ve arayüzlerinde yeni bir yöntemin, yeni bir biçimin varlığından söz etmek mümkündür. Bu yöntem tasarım görselleştirme enstrümanlarında var olan yenilikler ile ortaya çıkmaktadır. Bu çalışma, tam olarak tasarımın bu iletişim kısmına, tasarım iletişimi alanı içerisinde var olan durumsallıklardan bir tanesine odaklanmaktadır. Çalışmanın temel strüktürü, günümüzde tasarım eğitiminde ve tasarımcı güruhun toplumsal hafızasında, öğrencilerde ve tasarım camiasında, arayüzler ve programlar ile nasıl bir bağ kurulduğunu, iletişim alanının nereye konumlandığını, bu konumun doğru-yanlış/eksik-fazlalığını, nasıl pozisyon alındığını anlamak, gerekiyorsa yeni bir model önermek üzerine yapılandırılmıştır. Spesifik olarak içinde bulunduğumuz on yılda tasarım eğitiminin ana süjesi olarak Z neslinin bu eğitim ve iletişim modelleri, biçimleri ile ilişkisini kurmak en temel hedefi oluşturmaktadır. Bu noktada çalışmanın içeriğini tasarım eğitiminde iletişim alanına ek olarak teknik, tasarlama eylemi, algılama, öğrenme, konvansiyonel ve tradisyonel iletişim enstrümanları, inovatif ve güncel enstrümanlar, yeni teknolojiler ve Z neslinin tercihleri oluşturmaktadır. Bununla beraber tasarım kuram ve metodunun ifadesinde kullanılan yeni teknik ve teknolojileri sorgulanması içeriği oluşturan nüvelerden birisidir. Birçok farklı yöntem kullanılarak yapılan araştırmalardan elde edilen veriler ile yeni teknolojilere olan yatkınlık ve yakınlık ortaya çıkartılmış, tercih yoğunluğu ve sebepleri irdelenmiştir. Çalışma sürecince kullanılan araştırma yöntemleri dahilinde etik kurul raporu alınmıştır. Coomunucation exists as one of the indispensables in the field of design, as in every field. At this point, there are many techniques and methods to provide the necessary communication in that field. From the past to the present; sketches, drawing, models, computer-aided design programs can be expressed as tecniques used in communication in the design arena, conventionally and traditionally. With the developing technology, it is possible to talk about the existence of a new method and a new form in design visualization software and interfaces. This method emerges with the existing innovations in design visualization instruments. This study focuses exactly on this communication part of design, a situation that exists within the field of communication. The main structure of the study is to understand how the connection is established with interfaces and programs, where the communication field is located, how this position is right-wrong/incomplete-excess, how to take a position, in design education and in the collective memory of the designer crowd, students and the design community and suggesting a new model if necessary. Specifically, in the ten years we are in, as the main subject of design education, the most basic goal is to establish the relationship with the Z generation with these education and communication models and forms. At this point, in addition to the communication field in design education, the content of the study consists of technique, design action, perception, learning, conventional and traditional, innovative and current instruments, new technologies and generation Z. However, questioning the new techniques and technologies used in the expression of design theory and method is one of the cores that make up the content. With the data obtained from researches using many different methods, the tendency and closeness to new technologies were revealed, the density of preference and its reasons were examined.

Whether looking at furniture retail stores or reading advice from interior design guide books, we can recognize that middleclass living rooms are normatively divided into sitting and dining zones, furnished by relevant furniture stereotypes, such as dining tables and chairs, display cabinets, couch and armchair sets, centre tables, etc. Even the focal point of the living room is predetermined: a television or a fireplace. Professional actors such as designers and manufacturers require the user to undertake a set of generic activities like watching television, eating, hosting, relaxing. During my elective course, students were expected to undertake surveys for undermining how respondents conduct their everyday lives and which activities their respondents would like to perform in their living rooms. Research analysis presented a wide range of responses from unconventional ones which included defining new activities and abandonment of certain stereotypes to more conformist ones like complying with the current mass-market layouts.

This paper introduces and reflects on a master elective course for Interaction Design students titled Researching the Future Everyday. Aiming to equip students with the skills to critically adapt their own practices to the changing societal roles of design, the course guides students through a critical design approach with three key elements: a Science and Technology Studies paper that provides an alternative paradigm for assumed relations between design and societal issues, a Critical Design approach that makes the paradigm relatable for designers, and the use of Research Products to stimulate generalization of design implications beyond the exemplar. By analyzing ten student projects, we identify two patterns of using critical design to extend and enrich alternative paradigms. One uses oppositional designs to develop alternative design approaches. The other uses accelerational designs to extend alternative problem spaces. These patterns and their variations reveal avenues to further support students in developing critical practices.

2020 marks the beginning of a new era as the pandemic catapulted us into new digital and virtual ways of everyday life. As the world changes, we reimagine empowering, equitable, accessible, diverse, and inclusive digital futures, through a series of projects and workshops with a diverse set of participants - children in schools and Child Computer Interaction researchers. We conducted one long-term project with two schools in Finland and two one-day workshops with an international set of participants. Through an analysis of participants’ experiences and outcomes in the project and workshops, we build a case for diversity and inclusion through design fiction in the context of children’s education. In addition, through an analysis of the process we as researchers took for developing the project and workshops, we showcase the support of diversity and inclusion in design fiction. publishedVersion

Purpose The purpose of this study was to explore patient’s perception of their disorder. Design/methodology/approach This study used a phenomenographical approach within a qualitative research paradigm. A total of 21 patients with knee osteoarthritis (OA) were recruited for the study, and data were collected through open-ended face-to-face interviews. The interviews were transcribed and thematically analyzed. The transcribed verbatim was analyzed for themes. Findings The themes developed reflected the patients’ perceptions about the disease process. Thematic analysis revealed three themes: Knee OA is a degenerative disease, Knee OA is an age-related disease and Knee OA is caused by certain activities of daily living. The patient’s information varied and was limited to what had been provided by the health-care practitioner. The knowledge was more biomedical in orientation and was limited and not supported by the evidence. Research limitations/implications There is a need to provide evidence-based information that the patient must understand. Health-care providers must use a biopsychosocial framework to discuss the disease knowledge with patients. Practical implications This study helps us in identifying disease perceptions that can be used to design education programs for knee OA patients. It also highlights the need for delivering educational programs to knee OA patients. Originality/value This study lays a foundation for further research. To the author’s best knowledge, this is the first study to explore disease perceptions using a qualitative approach conducted among patients from a lower middle-income country.

The research intended to develop an ideal learning module using constructive alignment theory on Project Managerial course. It seemed difficult to draw firm conclusions about constructivism due to the various interpretations both pedagogically and epistemically. The mixed-method was used to survey 56 students participating in the Project Managerial course. Moreover, qualitative methods were implemented for deeper analysis. The methods provided an overview of the students’ level of understanding of the material, what they can do at the end of the lesson, as well as learning activities that can help students be actively involved in class. It was also to find out whether students have achieved the expected outcomes. The results prove that students’ understanding of the Project Managerial course is good, with an average score of 59,80 before the test and 85,88 after the test (n = 56). Students’ feedback shows that group assignment remains lacking of students’ participation with an average value of 3,4. In every relationship between the client and the designer, there are more or less the same systematic phases so that the results can be consistent. Different designers may have different terms. The research provides a big picture of the ideal design project management pattern. Whatever term is used later, of course, every successful design project must be managed properly and consistently.

With the development of 3D printing technology, there will be a lot of changes in manufacturing. Recently, research on 3D pen using 3D printing technology is increasing. Unlike 3D printing, 3D pen can print products instantly. So, 3D pen will be applied in various fields. In this study, the design education method using 3D pen was studied. The results of this study are as follows. First of all, design education using 3D pen can develop students’ creativity and problem-solving skills. In particular, this curriculum can be used in making education. The results of studies are expected to be important data for future education. Moreover, these results could be the basis for making textbooks for future schools. In the future, 3D pen should also be developed for students to use in practice.

Project-based learning (PBL) is one of most common teaching strategies in design education. With the complexity in design projects, PBL is usually accomplished in groups. The final project success depend on both technical capabilities and individual personalities: personality types and communication styles. Although previous studies have investigated the relationship between personalities and project success, the relationship between the composition of personalities and project success among design students has yet to be examined. Student personalities were studied based on students’ response to the personality assessments, Myers-Briggs Type Indicator (MBTI) and the four-type communication model. Project success was recorded in both PBL and individual learning processes for comparisons. Results show that project success is positively correlated with group compositions that have a balanced proportion of Judging (J) and Perceiving (P) members, and negatively correlated with compositions that have an even proportion of Extrovert (E) and Introvert (I) members. Results also show that group compositions that have members with leadership qualities (the Rational temperament and the Director communication style) are more likely achieve success. Comparisons between project success in PBL and individual learning processes indicate that students with specific personalities (the Guardian and the Relator) perform significantly better in individual assignments than group assignments. The purpose of this study is therefore two-fold; first, to study how the different compositions of personalities could explain group dynamics and influence project success and second, to highlight that PBL might be more suitable for some students than others. This study concludes that with an understanding of students’ personalities, teachers can create groupings to maximize the potential of PBL and, at the same time, provide individual learning activities to enable equal opportunities for all students to achieve success.

The Undergraduate Research in Natural and Clinical Science and Technology (URNCST) Journal Research Methods Primer is a novel undergraduate research design education opportunity available to undergraduate and professional-undergraduate degree students internationally. Applicants are invited to submit an abstract on a research method pre-selected by the journal and learn from a graduate-level researcher with expertise and interest in the research area. The three-month initiative is aimed at actively supporting and mentoring students as they navigate the complexities of research method theory and practice. The mentor and mentee(s) collaborate throughout the course of the program, culminating in the development of a full-length research methods primer manuscript of publishable quality. In this brief editorial, we provide an overview of how our editorial team successfully conceptualized, cultivated, and prepared for the launch of this initiative.