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The Fourth Industrial Revolution (4IR) merges the physical, digital, and biological spheres, reshaping societies and individuals worldwide in unprecedented ways. With the fast-moving globalization and rapid rate of technological development of the 4IR, the world is also facing unprecedented social, economic, and environmental challenges. As the 4IR continues to reshape industries across the globe, there is an increasing need for educational systems to adapt and equip students with the necessary skills to thrive in this rapidly evolving landscape. With its diverse socio-economic context and pressing environmental concerns, a specific emphasis on design education is required to develop a skilled workforce capable of driving sustainability in the 4IR. Given the needs of the 4IR, students need to possess a set of skills that are highly sought after. These skills, commonly known as the "4Cs," encompass communication, creativity, critical thinking, and collaboration. Design education plays a substantial role in preparing students for the demands of the 4IR, as it cultivates a holistic and interdisciplinary approach to problem solving, innovation, and sustainable development. This paper explores the place of design education in nurturing the 4Cs skill sets for achieving 4IR sustainability, focusing on how design education can address the unique challenges and opportunities faced in the 4IR era. [ABSTRACT FROM AUTHOR]

This paper is a systematic literature review of works focused on user-centred design practices and their potential application in pedagogical contexts in design and technology (D&T) education. It is a response to the increasingly complex demand of allowing students to develop so-called 21st-century skills within a D&T curriculum, which is often constrained by time, resources, and policy restrictions. This review highlights a range of studies that have been completed in various countries and phases of education, which enabled students to develop empathy with end-users whilst designing specifically for (and in some cases with) them. A Preferred Reporting Items of Systematic Reviews and Meta-Analyses (PRISMA) model was used to extract works published concerning established inclusion criteria. The articles were analysed according to their relation to user-centred design in a formal education setting and categorised based on the focus of each study. NVIVO was used to code the included literature to establish themes and to support analysis. The literature highlights many advantages to students in engaging in user-centred practices, both contributing towards improved design outcomes as well as improved social and emotional skills. It presents a need to further explore user-centred design methodologies in schools, feasibly through the lens of 21st-century skill development. [ABSTRACT FROM AUTHOR]

"Hybrid is here to stay!" If that is so, then how we educate design students and the techniques they learn need to work in a technology-driven online environment as well as face-to-face on campus. Learning codesign typically involves students being in a design studio environment where they create activities using tangible materials, for use in workshops, giving participants hands-on experiences to gather useful design insights. The question is, how does codesign need to be adapted to be effective in an online environment? To identify those elements of codesign that work effectively online, we offer lessons learned from teaching codesign online during the lockdowns and the resulting isolation of academics and students imposed by the COVID-19 pandemic. This necessitated rapidly adapting on-campus codesign techniques to online versions using available technologies to engage remote participants in online participatory experiences. We describe codesign activities of design teams who created 24 unique online activities to explore designs for Welcoming Community onto Campus, trialling them in virtual workshops with the local community. Case study method was used to collect and analyse weekly student reflections and educator observations using thematic analysis and basic inductive coding. The unexpected finding is that online codesign activities need to remain tactile and include multisensory qualities. We argue that online codesign needs to focus on building relationships, engaging the senses, keeping it simple and allowing flexible timing. We identify the benefits, challenges and implications for online codesign and provide a checklist for designers wanting to prepare for a hybrid codesign future. [ABSTRACT FROM AUTHOR]

This research examines the experiences of German design educators during the Covid-19 pandemic and explores how these experiences influenced design education's transition to the online studio two years afterwards. The research is based on surveys of 33 German design educators who represent 18 higher education institutions (University/University of Applied Sciences) during the pandemic and 32 surveys and six follow up interviews two years later. This is the first study that focuses exclusively on design education in Germany by presenting a before-and-after contextual snapshot. The results present both positive and negative experiences of educators from a wide range of design domains. The 'offshoring' of the studio to Internet-based communication and file sharing platforms during the pandemic has profoundly altered the perceptions and practices of design educators in Germany, where governmental hurdles, such as data restriction laws, are blocking the full integration of online technology in design education. The findings focusing on German design educator experiences are presented within the context of their international colleagues' experiences from a study conducted earlier. This research also touches on the influence of Artificial Intelligence (AI) on the future of design education as well as a general trend to go offline by encouraging a back-to-campus policy. [ABSTRACT FROM AUTHOR]

Since the beginning of the 21st century, design education has been gaining momentum across disciplines as a means to equip students with skills relevant in the job market as well as to tackle wicked problems. One of the core assumptions behind integrating design education to other disciplines focuses on the need for hands-on and experiential opportunity exploration and collaborative learning, often prevalent in studio-based settings. However, as the Covid-19 pandemic has shown, physically accessing the campus or the studio is not always feasible, so how might this impact multidisciplinary design education? Acknowledging the notion that we no longer can take face-to-face learning for granted, this paper ask what aspects of design (thinking) education could be delivered in blended environments. I contribute to this body of knowledge by investigating students' perceptions of their learning about design methods and processes in a problem-based blended learning course focusing on design and multidisciplinary teamwork. Visual learning diaries of forty-seven students were analyzed to better understand how blended learning can support or hinder learning about applying design to societal issues. Data analysis revealed three aspects - triggers for personal development, exploring ambiguity, and technology as providing structure - that form the concept learning frame. This concept sheds light on how the students perceived blended learning elements influencing their learning about how design could be applied to societal issues. Findings contribute to further dissolving the physical-digital dichotomy in design studio and education. Pedagogical implications focus on how blended learning can promote student agency in design education across disciplines. [ABSTRACT FROM AUTHOR]

In design education, students benefit not only from their project courses' content but also from the information resources they contain. When it comes to the repetition of unique problems and solution-oriented approaches in the design professions, the resources used to research solutions for the problems encountered in design education are also specific to that problem. This situation highlights resource diversity, and especially resource sharing, at various stages and thus opens a view into innovation habits among designers' behaviors. This empirical study explores whether or not designers' behaviors can be related to their practices in design project courses, regarding their open innovation tendencies. Semi-structured interviews with 20 designers are used to form a case study. Interviewees had experience with both in-house designers and freelancers, therefore purposive sampling was used. The results were analyzed thematically and discussed under open innovation practices. [ABSTRACT FROM AUTHOR]

The concept of play supports the experiential and creative aspects of the design field because it is a familiar and fun phenomenon and involves interaction. The use of game-based learning in design processes will increase participation by supporting the regulation of these processes and the problematic aspects of the design studio course, which is at the heart of design education. For this reason, this study investigates the use of game-based learning methods in the design studio processes, one of the most important courses in interior architecture education. The study, which preferred the embedded theory method to develop hypotheses, one of the qualitative research methods, investigated the effects of game-based learning on the understanding of design processes and time management in a voluntary workshop with second-year students of interior architecture faculty. The study preferred a pre-test-post-test design for a single group as the data collection instrument and was supported by observations. Consistent with this preference, data collected with participants prior to the workshop were analysed and the workshop structure was created, and an attempt was made to compare the results of the game-based learning method with the post-workshop observations and survey results. [ABSTRACT FROM AUTHOR]

While design is associated with novelty and creativity, few studies have explored the cognitive processes employed during team interactions. Design practice is collaborative where designers work in multidisciplinary teams. Along with the cognitive skills involved in designing, designers also need skills to work in teams, share information, and negotiate decisions. The aim of this study is to understand the cognitive processes used by design teams during the early phases of product design. This study uses case studies and applies content analysis to examine the conversations of design teams during the problem definition, ideation, and concept development phases of the design process. Creativity has been described in terms of sudden bursts of ideas described as creative leaps and is associated with creative thinking. The findings in this study shows that while creative thinking is essential to creative teams, other cognitive modes such as knowledge processing, critical thinking, and metacognition are engaged in more frequently. The emphasis of each cognitive process also varies depending on the phase of the design process. These findings have implications for how design students are educated, the skills required and how we promote creativity in design teams. [ABSTRACT FROM AUTHOR]

This paper reports on the use of feedback as part of a tuition strategy applied in a distance design course at The Open University in the United Kingdom. A blended feedback model (audio and summary text) was compared to the existing written-only feedback model in terms of student attainment, use, and perception. Comparison of feedback models confirms findings in the literature around the affective and interpersonal qualities of audio feedback, primarily in developing the relationship between student and tutor in a distance design education setting. The blended model demonstrated no major differences in student assessment outcome but differences in student activity and approach to feedback were observed, specifically that students engage in a series of extended and unexpected feedback opportunities beyond simple models of feedback normally assumed. It is proposed that a blended model, as part of a suite of approaches in a learning design, is more effective than either written or audio alone, allowing far richer student-tutor interactions and outcomes in distance settings. [ABSTRACT FROM AUTHOR]

The purpose of this study was to explore design student's perceptions over traditional and digital mediums within the design process. In this research, a convenient sample of design students was selected from two universities between Latin America and North America to respond a questionnaire which inquired for the design steps and the type of tools they used. The importance of traditional medium in the design process has been widely researched (e.g. Goldschmidt, 1991; Suwa et al., 1998; Tang & Gero, 2002). In a similar manner, digital medium has evolved in the design practice and researchers have looked at how the use of digital tools affect the design process (Salman, et al.2014). Multiple studies have argued that some stages of this process cannot be supported by digital medium tools (e.g. Bilda & Demirkan, 2003; Kwon, et al., 2005; Meniru, et al., 2003; Stones & Cassidy, 2007). In contrast, digital medium stimulates the occurrence of design patterns and epistemic actions (Yu, et al. 2015: Chandrasekera, 2014). Digital medium will require the development of new knowledge which may affect the designer's role and the education practices of new designers. The outcomes of this study will help design educators to understand design students' preferences in using digital tools and develop curriculums accordingly. In addition, it will aid software developers to better understand, cater to design students' needs and take advantage in the growing shift from traditional to digital medium. [ABSTRACT FROM AUTHOR]

In collaborative design settings, designers communicate and explicate their ideas visually and verbally in order to reach a shared understanding. The verbal exchanges of group members engaged in a joint design task provide rich data regarding the design activities being undertaken by the group members. In addition, sketching and modelling are recognized as essential for designers to examine and produce design ideas at the very beginning of a re-design process. This exploratory case study focuses on collaborative design activities and problem–solution coevolution among the various design disciplines that students engage in during their product design processes. Nine students from three design disciplines (interior design, product design, and graphic design) participated in a workshop providing knowledge about 3D modelling, following which they undertook a re-design task to develop a new 3D form of a detergent bottle. The research data consisted of video recordings and sketches, and the analysis focused on the progress of the design processes and the differences between the groups. The results highlight that the creation of new 3D forms was based on intensive reformulation activities such as setting new problem expressions or modifying existing ones. This kind of re-design task, which presented constraints in terms of developing a new 3D form within the prescribed requirements, served as a good exercise through which to practice co-evolution because it drove the design activities towards a balance of transitions in the problem and solution spaces. [ABSTRACT FROM AUTHOR]

The substantive aims of education include equitable learning, which stands for equitable gender access to preferred learning and choice within. These substantive aims can be furthered by pursuing certified vocational courses that equalize the presence of males and females in the job market through competitive skill sets. Design education in India was imagined as a composite field encompassing both technical studies and social sciences, and it was concentrated in metropolitan cities and technical institutions. It has now slowly spread to newer cities and more disciplinarily diverse institutions. Our research posits that the current unstructured growth of design education leads to a lack of emphasis on substantive outcomes. Rather, there is a focus on education for the sake of acquiring a certified competitive skill. We further analyze the distinction that has emerged between 'industrial' and 'communication' domains within design. This distinction is visible in the twinning of industrial design with engineering and architecture, while communication design is seen closer to fine arts and aesthetics as a stream not requiring technical expertise. This perception has precipitated a trend of gendered pathways in design education. This study used an exploratory approach to analyze five years of admissions data from the design department of a public university in a Tier 2 town in India, followed by semi-structured interviews with students and alumni. We found evidence to support the thesis of gendered pathways, attributed to factors like conventions of society, perceived safety, learning styles, curricular expenditure, and course briefs. [ABSTRACT FROM AUTHOR]

The studio is a space apart in the university, an environment unique to creative and design disciplines. As we emerge into the pre-dawn light of the post-COVID era, we should use the insight gained from the pandemic to speculate about the future. This article invites the reader to speculate about the possibility of a smaller design studio in architectural education: one that is smaller in its spatial, temporal, pedagogical and cultural dimensions. What if, instead of demonstrating the plurality of architectural practice through the breadth and diversity of elective studio 'units', we reduce the scope of design courses to create space for others? [ABSTRACT FROM AUTHOR]

In this paper we present a snapshot of the theories, intentions, practices and outcomes produced by a teaching and learning collaboration. This is located geographically and culturally at the University of Warwick, and temporally across the period 2020-2021 marked by the global pandemic. The case study illustrates how a designerly, flexible, open, collaborative approach to learning design allowed for effective adaptation to changing circumstances. This was more effective through being formulated as an ethical approach to Design Thinking, shared by teachers, students, the host department, and collaborators (including two VR companies, a physical theatre company, and a design researcher from South Africa). By developing a humanitarian, ethical, and philosophically grounded Design Thinking, and using it for founding principles, the teaching team were able to adapt and learn, making the most of what was possible. We explore this method in depth, focussing upon how a reflective appreciation of modes of knowledge, and the use of visualisations helps us to cope with the complexity of what we are doing together, before, during, and after the period of disruption. [ABSTRACT FROM AUTHOR]

In the wake of 2020's move to remote learning and teaching, institutions of higher education began experimenting with approaches that combine face-to-face and online learning. This article reviews one learning and teaching group's development of guidance for "dual delivery" and reports on focus group conversations with staff coordinating dual delivery design studios. It highlights key considerations identified by the group--learner equity and access, cohort building, and staff and student perceptions--and reports on efforts to address these through the design and coordination of studio subjects. This marks the first known study exploring hybrid/dual delivery in the design studio context. Findings suggest that treating the hybrid splitcohort mode of 2021 as an amalgamation of online and blended learning approaches is to ignore its unique learning design challenges, and to underestimate the implications of dual delivery for studio teaching. In addition to specific strategies for the design of studio learning activities, teachers' "on-the-ground" reflections offer additional insights for studio coordination--on distributed, place-based learning; on peer-to-peer interaction around student work; and on approaching learning design on the premise of "contingency". The article encourages testing of new pedagogic forms that can combine learning modes across space, and engagement with activities over time, in support of rich design learning for emerging hybrid cohorts. [ABSTRACT FROM AUTHOR]

eTwinning projects support teachers and students from different countries to engage with each other through online learning. In 2020, the world started to battle with the pandemic and this shifted educational practices from face to face to online learning. In this study, we tried to understand how the pandemic influenced the activity planning, design process, teacher connections, and in-class interactions from the teachers' viewpoint. To achieve this goal, we worked with a core group of eight elementary teachers who conducted eTwinning projects before and during the pandemic. These elementary teachers started developing eTwinning projects in 2019 by using a book designed to support interdisciplinary thinking with an emphasis on design with second grade students. When we examined the activities developed by these teachers, their emphasis on design and interdisciplinary connections continued during the pandemic with the same group of students when they were in third grade. While the mindset did not change for activity planning, the complete shift to online learning created several challenges for teachers. Teachers stated that their support for the design decreased during the pandemic and they were more comfortable with assisting their students in face-toface classes. The pandemic also reduced the connections among teachers and supporting group work became a challenge. When these aspects were combined, students had to complete an individual design experience during the pandemic and this resulted in several students missing the interdisciplinary connections in their design products. [ABSTRACT FROM AUTHOR]

While the pandemic has had a tremendous negative impact on societies, it has nonetheless provided us with a sort of living lab for investigating and exposing consolidated models of design education. The design studio, often conceptualized as a spatio-temporally inhabited milieu with translocal norms and conventions, became a blended environment where students and instructors alike had to establish new conventions and ways of knowing and inquiring. Employing Sicart's notions of play and playfulness as our theoretical lens, this paper argues how online learning has opened up a space for students and instructors to blur the boundaries of the design studio through the intersection of play and absence. Absence of things gives rise to being playful, and absence of play is required to sustain collaborative play. Through student interviews and our personal reflections, our findings reveal how play spatio-temporally fragments the design studio. In the absence of pre-existing conventions, play negotiates the boundaries of the design studio. Moreover, creating the virtual design studio can be understood as an emergent act of play; by being playful, we partly leave behind the norms and assumptions of the physical design studio to create something new. In addition, and paradoxically, creating a personalized and community-based way of being helped in seeing the immediate surroundings as the studio. Here, creating new methods for working in the studio playfully created boundaries for play. Theoretical and pedagogical implications shed light on the future of design studio and education as spaces that can be collaboratively enacted. [ABSTRACT FROM AUTHOR]

Australia's first nation people have suffered deep loss stemming from the colonisation of their lands and restrictions on cultural practises. Despite endemic disadvantage, many people maintain profound connections to traditional lands, their country, and retain a desire to share their cultural knowledge. This presents opportunities for design academics and tertiary students to establish partnerships with indigenous communities. This paper casts a reflective lens over an architecturally focused case study with a remotely located indigenous Australian community to differentiate learning outcomes that are site based on country and those conducted in classrooms off country. In the pre-COVID era, the Bower Studio program within the Melbourne School of Design at the University of Melbourne was taught with both on and off country learning opportunities. Bower Studio coordinates small groups of students travelling on country to meet community members in remote Australian communities and facilitates indigenous elders travelling to attend classes in Melbourne. While this combination was accepted as best-practise, the suspension of in-person gatherings due to COVID threatened the integrity of this program and forced significant change. Reliant upon video conferencing it would be reasonable to expect that the loss of on country experiences would significantly hamper the student/community engagement whilst simultaneously diminishing academic outcomes. This research reflects upon the project to confirm that on country learning remains best practise, however there were unexpected benefits from off country engagements facilitated through video conferencing. [ABSTRACT FROM AUTHOR]

The COVID pandemic forced universities worldwide to shift to remote and online formats of teaching delivery. In design education, this shift has impacted Experiential Education (EE) pedagogical approach to studio teaching, an approach that gives students an opportunity to apply theory to a concrete experience in a reflective manner and provides cross-disciplinary learning opportunities. This paper discusses Global Design Studio (GDS), a collaborative crossdisciplinary teaching initiative between three design disciplines across three continents: Industrial Design in Australia, Interaction Design in Canada, and User Experience Design in Germany. The objective was to develop a support framework during emergency situations to facilitate cross-disciplinary EE to design students. This paper discusses the three teaching experiences as case studies that offer opportunity for deep analysis and reflection of challenges and enablers to EE education in the shift from traditional design studio to remote and online delivery. While navigating COVID-19 barriers to EE education, GDS aimed to achieve these objectives by sharing resources, ideas, and expertise across the three universities. Each unit dedicated the entire academic term to a first exploration of GDS through a semester-long project 'Interactive Mannikin for children to learn CPR techniques'. This article discusses the context and outcomes of EE teaching and learning experiences at each unit. This paper also reviews the lessons design educators learned about: inter disciplinarity, inter-intra-cultural issues, group working, timing, remote collaboration, and proposing a GDS model for crossdisciplinary EE. [ABSTRACT FROM AUTHOR]

This study aims to improve understanding of the design studio as a setting where formal and informal pedagogies intersect. We argue that the informal dimension of learning has an essential but under-acknowledged role in contributing to the development of design students. Our research focuses on students' everyday routines and their associated material practices in both a proximate studio setting (physical), - such as making tea, speaking to peers, doing work - and in a distance (online) setting. We frame these activities as informal pedagogy that supports design learning and the development of designerly identities. While this study focuses on students' accounts of their everyday use of the physical studio (pre-pandemic), it is augmented with students' accounts of distance design education (during the pandemic). The disruption to studio practices, and the subsequent use of alternative environments to learn design, provided an opportunity to reconsider everyday routines and material practices at both proximate and distance settings. Supported by the infrastructure of the physical studio, we identify five 'functions' of informal pedagogy and use this to observe how these functions operated in distance settings. To understand the intersection between formal and informal pedagogy, we argue that binary terms are unhelpful and instead argue for an axis that runs from formal to structured informal to unstructured informal to social. [ABSTRACT FROM AUTHOR]

Design and architecture students who have started university in 2020, unlike the students before, attended virtual studios without experiencing the physical studio environment. The vast majority of them attended classes from their rooms or living rooms of their homes in different cities and tried to meet the requirements of the courses. Their computer screen turns into their eyes and its speakers turn into their ears. They had no other experience to compare this with, yet they have lived a studio environment, juries and more, even though they are virtual. This research focuses on their experiences with an emergency remote teaching basic design studio and their expectations of a design studio environment. By making short, semi-structured interviews with first year architecture students (n=14), this study explores how pandemic experience of 2020 might affect the basic design studio environments of the future. As a result of the study, two themes emerged based on the analysis of the data. The first, called the myths of the studio, reveals the expectations of the students about the design studios and how they try to realize these expectations virtually. The second theme, defined as hacking the studio, emphases how these students perform some actions that they cannot do in a physical studio environment by using the technologies they have. [ABSTRACT FROM AUTHOR]

The process of moving the physical design studio experience, where social interaction is a guiding principle, into a detached virtual environment during the Covid pandemic has prompted design educators to re-evaluate what constitutes a traditional studio-based learning system. This shift is based on classroom experiences after design educators moved their courses online as physical classrooms closed. Early research findings indicate that design educators and students adapted surprisingly well to an online classroom during the pandemic. But is this equally the case across all design domains? The author argues that it is unhelpful to generalize across design domains when setting out to construct alternative digital learning and teaching environments. This study contextualises varying responses to the online design studio and offers a unique international perspective on differences in design domains impacting future plans to offer blended or online learning. The research is underpinned by the epistemology of pragmatism. The interpretation of data is based on surveys filled out by 90 highly experienced design educators representing eight design domains in seven countries. Results indicate a clear shift toward long-term acceptance of select online elements even in design domains focused on physical studio skills. It is clear that design domains will differ in their adoption and development of blending face-to-face and online teaching in the future. [ABSTRACT FROM AUTHOR]

The enforced move to remote teaching delivery over the last year has brought many challenges to studio-based courses and the traditional modes of delivery that are often associated with UK Art Schools. Central to these challenges has been the loss of the design studio as a focal point for engagement and learning within a community of practice. However, the conviction that design is a subject that can be taught not just learnt through communal experience has propelled alternative remote modes of engagement to be explored through this period of separation from our on-campus environments. This study details the use of the on-line application Miro as an analog to the traditional 'physical' design studio in facilitating remote delivery to studio based undergraduate design and craft students. Reflecting on the delivery of five projects between November 2020 and April 2021 the authors describe how Miro was used as a platform to structure teaching delivery, share creative content and as an environment to foster remote dialogue amongst students. Through an evaluation of each project's delivery within digital spaces the authors identify the emergence of new behaviours and new opportunities that can support students working in digital studios to move beyond sharing screens to sharing spaces. [ABSTRACT FROM AUTHOR]

Critique in design education is redefining itself, but its primary aim still focuses on offering and receiving feedback on workshop projects. The global pandemic has forced teachers to adapt their methods for online workshops. The following paper questions how design critique has changed teaching and learning experiences, focusing on the distinctions between in-person and online sessions. Before winter 2020, students used to wander through the school's workshops, filled with sketches and models of ongoing projects. Since then, we were faced with the loss of a shared physical space leading to many changes that should be addressed as online workshops are going forward. As a result, the pandemic has accentuated some of the challenges of offering detailed feedback to projects and has shown the complexity to stimulate students' interactions during a critique. Gaps created through social distancing seem to have impacted not only the critique activity but the entire project and learning process. By exploring the teaching experiences of a dozen workshop tutors, this paper brings out concerns about the metamorphosis of general interactions and highlights an impact on the design activities. By referring to Lave and Wenger's situated learning, we discuss the importance of interactions while conducting projects by explaining, discussing, showing, or just looking at what others have done. This paper provides an overview of key elements to improve feedback and communication, emphasising that constant interactions with peers, teachers, and experts are especially meaningful to prepare the designer to its future community of practice. [ABSTRACT FROM AUTHOR]

Traditional design education models foreground place-based learning and teaching approaches that situate educators and students together in the studio. This experience enables an engaged and participatory teaching practice in which over-the-shoulder feedback and peer-to-peer critique become essential formal and informal learning interactions. However, the COVID-19 pandemic significantly interrupted the educational offerings of higher education institutions. Face to face learning ceased and rapidly pivoted to online and new remote models of delivery. For students studying design at the University of Sydney, this disruption significantly impacted the design studio - a space traditionally understood as a physical learning environment and a mode of learning and teaching. This paper presents a case study of two approaches to teaching design studio online delivered in early 2020. The first approach adopted an asynchronous delivery model in which students engaged with online materials at a time of their choosing, with assessments designed as individual tasks. The second approach adopted a synchronous delivery model in which students participated online in real-time, and assessment tasks were predominantly small-group tasks. In sharing the experiences of both case studies, this paper considers the role of synchronicity in delivering design studio online across four themes: interaction, assessment, feedback and design learning. Finally, the paper presents practicebased lessons that could inform pedagogical practices in design and support future models of design education. [ABSTRACT FROM AUTHOR]

Our undergraduate UX program at Purdue University launched in 2016 as one of the first UXfocused undergraduate degree programs in the United States, intentionally designed to support the unique characteristics of a residential, research-intensive, land-grant institution. We designed multiple overlapping studio experiences that formed multiple connections among cohorts, supporting mentorship, cognitive apprenticeship, the construction of social bonds, and reflection on one's own development as a designer. Our program was experiencing quick growth, with our cohort size growing from 20 students in 2016 to 50 students in 2021. With the onset of pandemic restrictions, the challenges of "scaling up" and the challenges of building a virtual studio pedagogy thus met. Our "hidden curriculum" of peer feedback and tacit learning, critique as a means of socialization and feedback, emancipation of the self, and allowance for identity formation pointed towards studio properties that were central to our pedagogy and needed to be reformulated or rethought. I describe the resulting "dimensions of crisis" that impacted our pedagogy and practice, the new supports for studio learning practices that we designed, and how these changes may lead to lasting changes to our residential program once the restrictions of the pandemic subside. [ABSTRACT FROM AUTHOR]

Due to their birth at the same time interval, according to the generation theories based on the idea that the individuals who were exposed to the same social, historical, and cultural events and thus have common experiences, similar attitudes to similar thoughts and behaviors, nowadays five generations, which are the Silent Generation, Baby Boomer, X, Y and Z Generations, live together. Each of these generations exhibits different tendencies in matters of work, family, and education because they encounter with different historical events, social relations and technological developments that help to see and make sense life from a different angle. Considering the individual who performs the design action and is affected by it, and relationship with the social structure due to the nature of the design, it is thought that generational differences will create similar differences in the approach to design action. Therefore, design education as a reflection of design practice will be affected by this difference. Thus, in this study to examine the change dynamics of industrial design education in Turkey within generations theories, in-depth interviews were conducted with different generations’ lecturers working in departments of industrial design in Turkey and data were compared within the framework of generations’ theories. As a result of the study, it was seen that changes in education parallel with characteristics of the generations due to changes of the generation of both the lecturers and the students. It also put forward the importance of being able to create a structure of education that is open to support changes. [ABSTRACT FROM AUTHOR]

Architectural forms, architectural knowledge, design process, and design thinking are all changing with the use of computer-aided design programmes, and even traditional university architecture departments now wish to teach these programmes. However, it can be difficult to implement courses on such computer programmes because these departments have traditionally structured curricula. We developed a framework that can inform the design of a parametric design course which considers the university profile, the course profile, and the student profile. This framework evaluates the departments in three categories: ‘open to new design approaches’, ‘supportive of CAD’ and ‘reject new design approaches’. A parametric design course in relation to the proposed framework was designed and implemented as a case study. The process and the results were discussed. [ABSTRACT FROM AUTHOR]

With the projects implemented in the 'Design for the Disabled' course in Gazi University 2019- 2020 academic year, fourteen students are asked to develop solutions for the problems of disabled individuals, which is one of the real-world issues, while gaining professional knowledge such as critical thinking, idea generation and learning the conceptual design process. In addition, it is aimed to increase their learning motivation and interest in social design projects. It was learned that the students did not carry out a design project for disabled individuals in their previous projects. Throughout the semester, students developed their projects with a conceptual design matrix consisting of Data Collection, Primary Analysis, Secondary Analysis, Synthesis, Hypothesis, Preliminary Design and Final Design stages. Students were asked to present their projects at the Final Design stage. The course was conducted through online classes during the Covid-19 Pandemic for twelve weeks. Students are enabled to experience an interdisciplinary critical process. Thus, successful solutions and new models have been developed in projects in terms of product and space. [ABSTRACT FROM AUTHOR]

University students often struggle with choosing a topic for their final projects due to the lack of a supporting and defining framework for said selection. Should the student be oriented toward reflecting on how each of the possible topics to choose from can become an impactful project in the short, mid and long run, maybe that selection becomes a less anxious moment and the engagement with the project activities more relevant and meaningful to the student, being particularly pertinent when students can anticipate different levels of impact that range from their own life to a wider community. In this paper a visual tool is proposed, aiming at simplifying the moment of choosing a project by matching its anticipated impact with the users’ motivations, capacities, ambitions, and perceptions of value. A prototype was designed and tested with a group of students enrolled at a creative postgraduate course, in a professionalisation-led module, under the UK’s first 2020 lockdown restrictions. The tool proved helpful in supporting the students’ decision making when having to select a topic to be developed in the context of a communication design project, and to which they were able to align their personal interests, their career ambitions, and the way they perceived themselves as contributing to a better world. Since this is a cyclical experience, both during a design learning environment, but also in design practice, the Impact Plan, which was conceived with design students in mind, configures as fully replicable in other academic (and professional) contexts too. [ABSTRACT FROM AUTHOR]

The design studio is the core element in the design curriculum where students gain key knowledge and skills. Typically implementing a project-based approach, it is characterised by learning by doing, collaborative learning and a prominent studio culture. The traditional notion is that the social domain of the studio has a counterpart in the physical environment. However, with the pervasion of information and communication technologies, the design studio was inevitably transferred to the digital realm. When the traditional face-to-face studio had to be transferred to an online modality enforced by covid-19 pandemics, re-conceptualization of the structure was required in order to ensure the quality of the teaching and students’ satisfaction. Based on the premise that the contents should not be simply adapted to an online version but an entirely new learning experience should be created, the redesign of the class was inspired by the principles of connectivism (Siemens, 2005). Connectivism as an alternative learning theory recognizes the societal shifts and the impact of technology on the learning processes. This new framework for understanding learning, states that knowledge is derived externally of the individual through a process of connecting nodes and patterns recognition. The paper explores the potential of connectivism applied in two online design studios at the University of Monterrey, Mexico. It describes the structure of the course and the results obtained in the online learning environment. The outcomes are verified in a survey on the perceptions of the students about their satisfaction and the effectiveness of their knowledge acquisition. [ABSTRACT FROM AUTHOR]

The rise in online courses and virtual learning avenues in the last few decades, and more recently the Covid-19 pandemic has seen traditional design schools imparting learning seamlessly by transitioning to the virtual realm partially or completely. This study helps understand the perspective of students from various design schools across India regarding their learning experience in online courses, virtual classrooms and their perceived social connectedness with peers and educators. We report findings from a mixed-methods study, which combined both quantitative and qualitative data collection and analysis, wherein ninetyfive students from five design schools across India responded anonymously to the online questionnaire survey. We assessed the factors that impacted perceived social connectedness of the students with their educators and peers in online classes. We also discuss some of the reasons for this perception, as articulated by the participants, and report a significant correlation found between felt connectedness and various factors in online learning, such as visibility of participants, level of interaction during class, interest in course and understanding of the subject. It was observed that while the target student group seemed adept in online interaction and exchange of information, their feedback on online learning revealed unique insights into aspects that affect overall experience of design education. In addition, we submit some of the features or elements of traditional face-to-face (F2F) classrooms that students miss the most in the current online setting and some of the measures taken by students and educators to stay connected and overcome the virtual gap in learning. [ABSTRACT FROM AUTHOR]

Contemporary design education seeks to prepare students for the workplace through studiobased learning that replicates real world practice. Design problems in the workplace have become increasingly complex and one example of this is within the area of design for healthcare, which requires multidisciplinary collaboration between various stakeholders to build knowledge in order to create new products, services systems and spaces. The complexity of these roles creates challenges for design educators in preparing students for the workplace. This paper presents a hybrid approach to address this challenge by presenting a real-world approach to design education. This entails a bottom-up approach to facilitate design research in a clinical setting to gather rich insights and needs of the clinical setting along with a top-down industry collaboration with sponsored briefs to guide students through the requirements of developing solutions in a heavily regulated field. The paper outlines examples of this process and how it was achieved in a blended model that was predominantly online in response to the changed environment caused by the COVID-19 pandemic. The advantages of this model are threefold, students gain deep knowledge and skills through collaborating with a variety of stakeholders within health care, they gain the opportunity to validate their designs through testing and feedback with these partners and lastly students develop the connections to create opportunities for further partnerships and employment. [ABSTRACT FROM AUTHOR]

This study responds to calls to further investigate ways to make feedback more effective for students in the context of higher education. More specifically it scrutinizes the feedback practice, adapted to the exceptional reality of a partly on Campus, partly online semester–long Product-Service System (PSS) design project for first Master students of X at the University of Y. To do so, an established model of feedback (Hattie & Timperley, 2007) is used as a framework to seek answers to the research question: which types (and levels) of feedback are generated when applying Comparative Judgement (CJ) to guide the students’ and teachers’ feedback formulation? Following the model, first three types of feedback: feeding up; feeding back; and feeding forward and second, four levels of feedback are discerned: task; process; selfregulatory and self. The current study describes how first year Master students (n=72) and lecturers (n=4) apply CJ to formulate feedback. We evaluate which types and levels of feedback are formulated and received by the students, both towards and from their peers and teachers. Additionally, based on a post hoc survey and reflection paper, we list the strengths and weaknesses of CJ as a method to help students to formulate, interpret and receive feedback. Finally, we identify various opportunities to improve CJ based feedback during product development cycles and its impact on learning and self–assessment of the own project process and (intermediate) results quality, and metacognitive strategies for learning. [ABSTRACT FROM AUTHOR]

An ever-increasing array of design visualisation tools are available to designers. As such, design education is constantly challenged to keep up with these trends so that students are best equipped for entering industrial practice. This paper reports a study into the use of digital sketching, a relatively new digital visualisation tool. The study aims to identify thematic differences in how students and practitioners perceive digital sketching. These are given in terms of the tool’s characteristics, and how these characteristics guide its application in early stages of the design process. Data on perceptions is captured using design diaries and semistructured interviews. Results show key differences in the way that practitioners perceive the intent of visualisation. Practitioners focus on iterating towards a solution during the design process. Students are much more focused on the task of creating visualisations. This reveals an underlying contradiction in the way tools are perceived between creating visualisations to gain expertise or skill, versus creating them to advance the design process. The insights help improve our understanding of how the different characteristics of digital sketching inform its use. We reflect on how we educate students with respect to selecting and using digital sketching. We conclude with implications for education of digital sketching, as well as other emerging digital visualisation tools. [ABSTRACT FROM AUTHOR]

Soft skills are interpersonal, social, and emotional competencies, transversal to various fields of knowledge and life. In the Knowledge Age, soft skills play an essential role in the differentiation of human work. Nevertheless, in design education, there are still few studies on soft skills. This study brings a conceptual map of soft skills in design education. It refers to a mixed-methods research conducted through a survey involving 93 teachers of high education design courses in 26 countries. We combined the survey results with a literature review analysis aimed at defining constructs and identifying their relationship. Finally, we propose a classification for soft skills as being Collective/Individual and Cognitive-Metacognitive/Interpersonal-Social. Our research recognises the connections and interdependence among skills, allowing us to settle different groups and establish relations among other skills. Furthermore, based on literature, we identified a hierarchy of gateways skills and high order skills and pointed out their connections. Additionally, a conceptual map was created, including the 20 primary soft skills in design education, their proposed classification, and the links between the skills. The result can help teachers and students know the primary soft skills in design education and develop teaching-learning approaches to acquire soft skills during their university training. [ABSTRACT FROM AUTHOR]

There is an increasing interest in design and creative thinking processes in the Sciences, Technology, Engineering, and Mathematics (STEM) and health education disciplines. Many new degree programs are integrating design thinking into their syllabi, with the intention of bringing creative problem-solving methods to these disciplines. In reality, the exposure these students get is minimal, and it does not provide enough foundation for them to use the knowledge and apply the process(es) in real-life situations. There is an increased awareness of the importance of design thinking in the innovative process. More and more STEM, business, and health establishments are embedding trained designers into their research teams – yet many designers are not equipped to work on interdisciplinary teams. Design students tend to approach problems more intuitively, opportunistically, and build on creative leaps of imagination whereas, STEM and health disciplines are often more algorithmic, systematic, and rationale. This can often generate tension in interdisciplinary teams, especially when traditional disciplines (e.g., Engineering, Sciences) are integrating relatively newer thinking (e.g., design thinking). In this paper, we share the outcome of a phenomenological study on a high-functioning interdisciplinary team working on a health innovation project focused on aging with a disability. This case study illustrates the skill set needed for designers, health and technology professionals to make a significant contribution to its overall outcome. We identified key attributes that contribute towards being an effective member of interdisciplinary teams. Based on this study, we propose a pedagogical approach to better equip design, STEM, and Health students to be more competitive in changing economic expectations and ensure more impactful design outcomes. [ABSTRACT FROM AUTHOR]

In an attempt to resolve some of the gaps associated with the pedagogical integration of teamwork in design curricula, this article seeks to share a model for learning teamwork skills. This model is the result of a multiple case study methodology based on the learning experiences of 22 design students. Data was collected during various team projects through questionnaires and interviews. In relation to the concept of the zone of proximal development, the coded data was organised by thematic categories and training levels to provide a practical tool to support teaching and assessment practices to encourage the learning of teamwork skills. The proposed model allows for a systemic understanding of teamwork skills that should be acquired during design training to navigate with efficiency and confidence in the collective projects of design’s community of practice. The use of the model promotes the adoption of more complex teamwork dynamics, such as collaboration, enhanced with an integrated pedagogical approach. It also motivates individual action towards collaborative initiatives in the hopes of more coherent teamwork processes. [ABSTRACT FROM AUTHOR]

According to UNESCO (2012) pedagogies associated with Educations for Sustainable Development (ESD) should spur and inspire students to think critically, ask questions and reflect. The assumption is, that pedagogies are moving towards student-centred participatory learning. Still, the educator is at the core of the transition towards developing ESD’s, so changes of the educators’ worldviews and practices are emerging. The educators’ competences and knowledge on ESD-development becomes central as the question of the what and the how the students are taught becomes more pressing. Today many sustainable educations still have a high focus on systemic issues (external systems); politics, technology, or socioeconomic structures (Parodi & Tamm, 2018, Wamsler, 2019) and lately the UNESCO (2021) has stressed the need for adapting cognitive, transformative, personal, emotional, dimensions of learning into ESD. In a transformative learning setting the educators should provide real-heartfelt experiences generating the students with capacities to reflect critically on both systems and personal design practice methods and help them aligning their methods with their personal emotional values. In doing so, the educators feel left “alone in the Wilderness” and research in the personal dimension of sustainable transformation and connection of this to ESD’s is scarce (Parodi & Tamm, 2018, Wamsler, 2019). On this backdrop, this article provides a reflexive case study of a BA level course on “Design for Change” performed from 2019 – 2021 using transformative learning practices and the connected interventions in the form of a reflection tool, the Decoding Creativity Tool (DCT). The data was collected to discover if and how the students could enhance personal sustainable competences using transformative learning focusing on the personal emotional and creative development and awareness, reflection tools and “visiting” methods. Implementing transformative learning and ESD’s into educational practices requires radical revisions of the design education system, managerial strategic commitment and involves many levels of the HE’s. It requires both internal and external collaborations for the design educations and could involve developing new didactics and methods where ideas can grow. (Barth & Rieckmann, 2012). [ABSTRACT FROM AUTHOR]

Design Sprint is an intensive and innovation-focused framework based on Design Thinking principles. This study discusses the potential usage of the design sprint framework in industrial design education, and focuses on its strengths and weaknesses as an educational tool. Within this context, the study reports on a design sprint workshop involving twelve industrial design students in their fifth semester. The general process and outcomes of the design sprint workshop are critiqued along with the feedback of participant students. Design sprint in industrial education supports student ability to critique their own design and creative thinking, offers a new usage of prototyping as a testing material, and enables user-designer interaction, but also challenges the students with limited time and intensive workload. Design sprint can be a tool for carrying out multidisciplinary studies, reflecting the activities of professional practice, and accelerating project progress in design education. [ABSTRACT FROM AUTHOR]

This article discusses a case study combining the qualitative analysis of documents and videofootage. The data was collected during a short collaborative task within an ideation phase with9-10 year old pupils customizing a store-bought t-shirt. The combination of video and document analysis allows tracing back the emergence of some of the kernel ideas visible in prototypes and final designs. The analysis also shows that the pupils in the case study have developed a pool of ideas during several collaborative phases that they could draw back on for their final designs. The close observation of both verbal and embodied dialogue in video analysis shows that the individual, simultaneous and conjoint handling of materials in an exploratory way -- touching and examining, arranging and rearranging -- as well as the verbal dialogue taking place during the design process plays an important role within the ideation phase in Crafts and Design lessons. Thus, the article supports previous studies in this area. This small-scale case study can also be taken as an example for how to practice studying subject- specific learning and teaching for students in teacher education with documents and videofootage providing a rich resource. Additional materials available on an online-portal as of June 2020 serve as a starting point for this endeavor. [ABSTRACT FROM AUTHOR]

Industrial design education is focused on teaching a combination of various interdisciplinary competencies. One of these projected learning outcomes is to be able to design mechanisms in order to fulfil certain mechanical constraints in products. Studies show that theoretical knowledge supported by practice helps to teach industrial design students the mechanisms. In the current situation in Turkey, practice-based courses are designed with a similar purpose. However, graduates severely lack mechanical design skills. In this study, a two-staged toolkit of a holistic flow is introduced to prevent the deficiency mentioned above. In the toolkit, mechanisms are taught by combining deductive and inductive approaches, instead of a directly inductive conventional approach. The toolkit is applied to 36 sophomore year students. Assessments of the students and their self-evaluations are collected and analysed. Findings show that the toolkit can be beneficial for teaching of mechanisms to ID students through some revisions. [ABSTRACT FROM AUTHOR]

In order to improve creative thinking in architectural design education, it is useful to interact with other disciplines such as music. There are many works of this interdisciplinary approach between architecture and music in the literature. These studies focus on new methods of creating forms with music for basic architectural education. The common aim is using music as a creative perspective for designing forms before proceeding to architectural design. Various structural forms designed by students are examined within these studies. It is concluded that designing with music could improve students' imagination and could be benefit to architectural design education. Furthermore, these approaches could be improved, not only in basic form design, but also to be applied in an entire architectural project from space to façade. Music could be used as an inspiration to be transformed into a product, an interior or an architectural structure, and this could be useful for architectural design studio courses. Therefore, this review aims to underline the benefit of music in architectural education by examining the existing studies in the field, and it is a preliminary research for the further study of a method of designing with music. [ABSTRACT FROM AUTHOR]