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This paper identifies five influences on design & technology education in England—the government agency, the curriculum developer, the teacher, the pupil and the researcher. Using developments in school design & technology education and examples from England the paper describes a range of activities involving one or more influences noting the implications each has for creativity in school design & technology education. In conclusion the paper summarises the impact of the influences and suggests an approach to support further productive collaboration. [ABSTRACT FROM AUTHOR]

Within this paper, a conceptualised triadic schema is hypothesised for locating emotion within a creative, learning and product orientated Design and Technology experience. The research is based upon an extensive literature review that has been synthesised and juxtaposed with the broad aspirational aims of the subject. The schema, based upon abductive reasoning and grounded theory, ultimately conceptualises the overarching theme of emotion within a creative, learning and product orientated Design and Technology experience within the Primary and Secondary stages of England’s education system. The triadic schema offers an additional opportunity in meta-theorising how the broad aspirational aims of the subject, as outlined in the English national curriculum statement of importance for Design and Technology, can be achieved through recognising the powerful overarching concept of emotion within three emerging domains: Person, Process and Product. The central tenet of this paper is the recognition of emotion within a triadic schema for meta-theorising the place of emotion within a creative, learning and product orientated Design and Technology experience. [ABSTRACT FROM AUTHOR]

This paper is based on work carried out as part of a research study into the professional practices of secondary design and technology teachers in England. It focused on fostering creativity or teaching for creativity as defined by the Robinson Report (1999, All our futures: creativity, culture and education. London: Department for Education and Employment (DfEE)) for pupils aged 11–14 years. The overall research question that drove this study was “to what extent can teachers influence the creativity of pupils aged 11–14 years in design and technology lessons?” The paper provides the basis used to generate a unique theoretical three-feature model or framework that can be used to explore creativity within an educational context. The findings of three investigations in the study are presented in this paper. The first and second investigations looked at what could be learnt from the professional practices of art and design and design and technology teachers and the views of four ‘expert’ teachers known for their ability to develop the creative potential of their pupils. The data is discussed under emerging themes and it is used to inform specific criteria in the evolving theoretical three-feature model for creativity. The model is then used to analyse the data from the third classroom based investigation and the findings are discussed under the emerging themes to help identify the issues related to fostering creativity within the design and technology classroom. This paper discusses the implications of the research for classroom practice and suggests that, as creativity is a complex, multi-faceted concept and process, the theoretical three-feature model and related criteria evolved in the study provides a sound framework to explore creativity within an educational context. As a tool it helps identify examples of good practice and highlight areas that require further attention by teachers aiming to foster their pupils’ creativity. It is suggested that design and technology teachers have lessons to learn from the practices of their art and design colleagues and ‘expert’ design and technology teachers. It is concluded that there is a need for greater understanding by teachers of their implicit theories regarding teaching, learning and creativity. A wider use could be made of the breadth of strategies outlined by the ‘expert’ teachers. This would help address the weakness identified in the school based study and strengthen classroom practice when teaching for creativity. [ABSTRACT FROM AUTHOR]

This paper investigates developments in the teaching of food technology introduced as an element of design & technology in the 1990 National Curriculum for Technology in the English primary curriculum for children aged five to eleven years. It reviews briefly the situation for food teaching before 1990 and identifies a number of relevant issues. This is followed by an overview of developments in food technology in primary schools between 1992 and 2001, highlighting the need for primary teachers and trainee teachers on initial teacher education courses to develop an understanding of how to teach food technology in their schools. The development of teaching materials through the Nuffield Approach to food technology in primary schools is outlined together with a case study of the use of the materials in initial teacher education at the University of Surrey Roehampton. The paper describes the uptake of Nuffield Primary food technology materials as measured by down loads from the Nuffield Primary Design & Technology web site. Alongside this, there are reflections of primary trainee teachers on the impact of using the Nuffield food technology materials on their classroom practice during school experience. It concludes with a discussion of the key issues arising from the paper and suggestions for future research. [ABSTRACT FROM AUTHOR]

There is a lack of evidence that examines, together, the triad of how teachers in elementary/primary schools are translating curriculum requirements for teaching design, within technology frameworks, in their classrooms, how their students then proceed with design, and how 'school situated design' relates to 'workplace design'. This paper explores the relationships between designerly thinking and behaviours situated in classrooms and in the workplace, beliefs about how designing is learned in schools and in the 'real world', and children's, teachers' and designers' understanding of design. These are be illustrated by extracts from interviews with teachers, children and designers and evidence of designing in classrooms and in the workplace. Similarities and differences between evidence from 'school situated design' and 'workplace design' and from Canada and the United Kingdom (UK) are discussed. [ABSTRACT FROM AUTHOR]

This paper discusses the ways in which teachers exploited a set of curriculum materials published as a vehicle for curriculum innovation, and the relationship between chosen modes of exploitation and teachers' own perceptions of how the materials had 'added value' to their teaching. The materials in question were developed by the Nuffield Design and Technology Project ('the Project') to offer a pedagogy appropriate to the statutory curriculum for secondary school design and technology education in England and Wales (DFE/WO 1995). The Project had sought both to inform the statutory curriculum, and respond to its requirements. An earlier case study (Givens 1997) laid the foundations for the survey that is reported here. This paper focuses on the teaching of pupils aged 11–14. It finds that while most teachers made at least some use of all the various components of the publications, they were selective. While the Study Guide, which carries out a meta-cognitive dialogue with pupils, was generally underused, those teachers who did use it perceived greater value added by the materials as a whole to the quality of pupils' work, their effectiveness in design and technology and their autonomy. [ABSTRACT FROM AUTHOR]

This paper describes the development of the design and technology component of the National Curriculum of England and Wales from its inception in 1988 to its current form in 1995 and the influence of the Nuffield Design and Technology Project in this process. The paper discusses the Nuffield approach to four important issues — breadth and balance, continuity and progression, differentiation and clarity of content. The paper discusses the role of the teacher and identifies four important features required for successful teaching. The paper describes the work of the Project in providing continual professional development for design and technology teachers including the work of area field officers to support teachers who are using the Project publications. [ABSTRACT FROM AUTHOR]