DS 117: Proceedings of the 24th International Conference on Engineering and Product Design Education (E&PDE 2022), London South Bank University in London, UK. 8th - 9th September 2022最新文献
Collaboration between different actors is key to successful projects within the architecture, engineering, and construction (AEC) industry. Virtual Reality (VR) combined with Building Information Models (BIM) is an effective visualisation tool that may aid a team’s communication and collaboration. Civil engineering students at Oslo Metropolitan University are encouraged to use such tools, available to them in a dedicated digital collaboration room dubbed the ‘Little Big Room’ (LBR) along with computers and large touchscreens. This paper explores how the tools in the LBR are utilised by three student groups working on a project and how the students view them, discussed through the theoretical lens of the technology acceptance model. The aim is to suggest how students’ utilisation of the technology can be facilitated to improve their learning experiences in collaborative projects. The students were satisfied with using the LBR. However, the full potential of VR was not utilised, such as the option to evaluate the size of the rooms and lighting conditions, something they only realised in hindsight, as not all students perceived VR as sufficiently useful for the tasks given. Changing the criteria of the task or increased focus on the students’ first introduction to VR might facilitate increased utilisation of VR as a professional tool.
{"title":"REALISING THE POTENTIALS OF VIRTUAL REALITY AND BUILDING INFORMATION MODELS? CIVIL ENGINEERING STUDENTS’ UTILISATION OF TECHNOLOGY IN A GROUP PROJECT","authors":"Ingri Strand, E.E. Hempel, E. Hjelseth","doi":"10.35199/epde.2022.41","DOIUrl":"https://doi.org/10.35199/epde.2022.41","url":null,"abstract":"Collaboration between different actors is key to successful projects within the architecture, engineering, and construction (AEC) industry. Virtual Reality (VR) combined with Building Information Models (BIM) is an effective visualisation tool that may aid a team’s communication and collaboration. Civil engineering students at Oslo Metropolitan University are encouraged to use such tools, available to them in a dedicated digital collaboration room dubbed the ‘Little Big Room’ (LBR) along with computers and large touchscreens. This paper explores how the tools in the LBR are utilised by three student groups working on a project and how the students view them, discussed through the theoretical lens of the technology acceptance model. The aim is to suggest how students’ utilisation of the technology can be facilitated to improve their learning experiences in collaborative projects. The students were satisfied with using the LBR. However, the full potential of VR was not utilised, such as the option to evaluate the size of the rooms and lighting conditions, something they only realised in hindsight, as not all students perceived VR as sufficiently useful for the tasks given. Changing the criteria of the task or increased focus on the students’ first introduction to VR might facilitate increased utilisation of VR as a professional tool.","PeriodicalId":147286,"journal":{"name":"DS 117: Proceedings of the 24th International Conference on Engineering and Product Design Education (E&PDE 2022), London South Bank University in London, UK. 8th - 9th September 2022","volume":"120 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121383809","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The DIY movement goes back to the late 60’s and started the trend of shared tools as a reaction to the lack of skills and education on how things are made; this resulted in an increased awareness of democratic manufacturing resources and facilities, especially makerspaces and hackspaces, innovation labs, 3D printer farms etc. At Nottingham Trent University (NTU), we have observed an increase in students choosing to study Product Design thus increasing pressure on workshop/manufacturing spaces, especially automated manufacturing resources such as 3D Printers. Subsequently, the maker experiences students have been experiencing within the workshop environment temporarily lessened to ensure the needs of our rapidly increasing student cohorts are catered for. This paper explores how democratic technologies and manufacturing tools have overcome this issue by enabling designers, makers, and hobbyists to increase their access to facilities within the Product Design Department at NTU. This paper explores/reflects on the initial development of a 3D printer farm located in a product design studio where a group of sixty-nine students manufactured/assembled eighteen Creality CR-10S 3D printers. The success of the initial student led democratic manufacturing project resulted in ADBE developing a second 3D printer farm in a second product design studio consisting of a further eight Creality CR-10S V3 3D printers. The 3D printer farms are now complimented by a blended induction allowing for student independent use of the resource. Student feedback is also presented regarding the blended induction to ascertain knowledge acquisition and confidence on using the resources independently.
{"title":"DEMOCRATIC MANUFACTURING: A STUDENT MANUFACTURED & OPERATED 3D PRINTER FARM","authors":"F. Siena, Christopher Forbes, Kerry Truman","doi":"10.35199/epde.2022.49","DOIUrl":"https://doi.org/10.35199/epde.2022.49","url":null,"abstract":"The DIY movement goes back to the late 60’s and started the trend of shared tools as a reaction to the lack of skills and education on how things are made; this resulted in an increased awareness of democratic manufacturing resources and facilities, especially makerspaces and hackspaces, innovation labs, 3D printer farms etc. At Nottingham Trent University (NTU), we have observed an increase in students choosing to study Product Design thus increasing pressure on workshop/manufacturing spaces, especially automated manufacturing resources such as 3D Printers. Subsequently, the maker experiences students have been experiencing within the workshop environment temporarily lessened to ensure the needs of our rapidly increasing student cohorts are catered for. This paper explores how democratic technologies and manufacturing tools have overcome this issue by enabling designers, makers, and hobbyists to increase their access to facilities within the Product Design Department at NTU. This paper explores/reflects on the initial development of a 3D printer farm located in a product design studio where a group of sixty-nine students manufactured/assembled eighteen Creality CR-10S 3D printers. The success of the initial student led democratic manufacturing project resulted in ADBE developing a second 3D printer farm in a second product design studio consisting of a further eight Creality CR-10S V3 3D printers. The 3D printer farms are now complimented by a blended induction allowing for student independent use of the resource. Student feedback is also presented regarding the blended induction to ascertain knowledge acquisition and confidence on using the resources independently.","PeriodicalId":147286,"journal":{"name":"DS 117: Proceedings of the 24th International Conference on Engineering and Product Design Education (E&PDE 2022), London South Bank University in London, UK. 8th - 9th September 2022","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128014517","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As remote learning in design studios becomes ubiquitous, it is important to reflect on this shift and structure our path towards effective online learning. Taking an architectural studio as a case study, we held several interviews with students and instructors, and extracted essential user needs which we would do well to address in an online setting. Existing learning environments were then compared in their abilities to fulfil such needs, and thus facilitate effective teaching and learning. The contribution of this study is a new perspective on studio-education which exposes gaps between user-needs and the current online setting, which may be bridged by emerging cyber-physical technologies (CPTs), such as augmented reality (AR) etc. Our findings can inform the future development of CPTs for studio education, and thus aid to maintain the positive aspects of traditional practices, when shifting to a remote setting.
{"title":"A USER STUDY FOR FACILITATING EFFECTIVE REMOTE EDUCATION IN DESIGN STUDIOS: TOWARDS INTEGRATION OF CYBER-PHYSICAL TECHNOLOGIES INTO DESIGN EDUCATION","authors":"Yuval Kahlon, Momoko Nakatani, Haruyuki Fujii, Takuya Oki, Jiangye Zhu, Santosh Maurya","doi":"10.35199/epde.2022.75","DOIUrl":"https://doi.org/10.35199/epde.2022.75","url":null,"abstract":"As remote learning in design studios becomes ubiquitous, it is important to reflect on this shift and structure our path towards effective online learning. Taking an architectural studio as a case study, we held several interviews with students and instructors, and extracted essential user needs which we would do well to address in an online setting. Existing learning environments were then compared in their abilities to fulfil such needs, and thus facilitate effective teaching and learning. The contribution of this study is a new perspective on studio-education which exposes gaps between user-needs and the current online setting, which may be bridged by emerging cyber-physical technologies (CPTs), such as augmented reality (AR) etc. Our findings can inform the future development of CPTs for studio education, and thus aid to maintain the positive aspects of traditional practices, when shifting to a remote setting.","PeriodicalId":147286,"journal":{"name":"DS 117: Proceedings of the 24th International Conference on Engineering and Product Design Education (E&PDE 2022), London South Bank University in London, UK. 8th - 9th September 2022","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132697616","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
RoboMaster is an annual robotics competition pitting student’s cutting edge robot designs in a Multiplayer Online Battle Arena (MOBA) gamified shoot-out battle. The highly technical-advanced competition rules are designed to encourage innovation in robotics automation and intelligent systems while placing robot battles at centre-stage. It manages to display the beauty of engineering technology and popularize robotics to the wider audience by balancing technical challenge and entertainment value. Hong Kong University of Science and Technology (HKUST) sees RoboMaster as a unique platform for promoting STEM to the wider university student body. Through 4 years of team development and student participations, we have homegrown a group of outstanding scientific and technological engineers who have excelled in both academic research and entrepreneurial ventures. In this paper we review the development, growth and success of the 4 years of the HKUST RoboMaster ENTERPRIZE team and evaluate assessable learning outcomes of the competition as a project course. The degree of engineering design complexity and resulting the comprehensive learning outcomes, inspired the launch of a new bachelor programme in which many foundation engineering courses are replaced by year-long cornerstone project courses mirroring the RoboMaster project course. The outcome is a more individualized high-impact programme allowing students to build their engineering studies around technologies of our time.
{"title":"PROJECT BASED LEARNING IN THE CONTEXT OF CUTTING-EDGE ROBOTICS COMPETITION","authors":"S. W. Leung, Zexiang Li","doi":"10.35199/epde.2022.60","DOIUrl":"https://doi.org/10.35199/epde.2022.60","url":null,"abstract":"RoboMaster is an annual robotics competition pitting student’s cutting edge robot designs in a Multiplayer Online Battle Arena (MOBA) gamified shoot-out battle. The highly technical-advanced competition rules are designed to encourage innovation in robotics automation and intelligent systems while placing robot battles at centre-stage. It manages to display the beauty of engineering technology and popularize robotics to the wider audience by balancing technical challenge and entertainment value. Hong Kong University of Science and Technology (HKUST) sees RoboMaster as a unique platform for promoting STEM to the wider university student body. Through 4 years of team development and student participations, we have homegrown a group of outstanding scientific and technological engineers who have excelled in both academic research and entrepreneurial ventures. In this paper we review the development, growth and success of the 4 years of the HKUST RoboMaster ENTERPRIZE team and evaluate assessable learning outcomes of the competition as a project course. The degree of engineering design complexity and resulting the comprehensive learning outcomes, inspired the launch of a new bachelor programme in which many foundation engineering courses are replaced by year-long cornerstone project courses mirroring the RoboMaster project course. The outcome is a more individualized high-impact programme allowing students to build their engineering studies around technologies of our time.","PeriodicalId":147286,"journal":{"name":"DS 117: Proceedings of the 24th International Conference on Engineering and Product Design Education (E&PDE 2022), London South Bank University in London, UK. 8th - 9th September 2022","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133496668","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Intuition and insight are two processes that link the tacit and the explicit knowledge, which are relevant to idea sharing in the design process for evolving critical values into an innovative design. Experiences to link the tacit and the explicit knowledge easily enhance and foster more valuable and creative thinking. The present research aimed to verify unanswered questions focused on multisensory stimulation and integration as follows. Q1: Visual or olfactory stimuli influence the same way regardless of whether it is unimodal or multimodal ? Q2: Is liking the only intuitive value compared to other semantical values such as freshness, weightiness and experience ? The current research presented significant findings which answer the above-mentioned questions. A1: Visual knowledge is more solid and influenceable than olfactory knowledge in unimodal conditions, whereas olfactory knowledge is more solid and influenceable than visual knowledge in multimodal conditions. A2: Liking is a more clear and effectible value to verify the impression of the perceived stimuli. And the worthiest finding from the results is that liking is relevant to experience. The evaluation results of liking show similar trends as experience, and vice versa. Further research should clarify in further research whether liking correlates with sensitivity or not in the structured sensory and leads the subjective evaluations to modify specific evaluation values. The findings of this research are worthy as they provide a hint to enhance value-driven design factors to foster more valuable and creative experiences which will be beyond our expectations.
{"title":"TOWARDS VALUE-DRIVEN EXPERIENCE DESIGN BY MINDING THE GAP BETWEEN VISUAL-OLFACTORY PERCEPTION","authors":"Sukyoung Kim","doi":"10.35199/epde.2022.90","DOIUrl":"https://doi.org/10.35199/epde.2022.90","url":null,"abstract":"Intuition and insight are two processes that link the tacit and the explicit knowledge, which are relevant to idea sharing in the design process for evolving critical values into an innovative design. Experiences to link the tacit and the explicit knowledge easily enhance and foster more valuable and creative thinking. The present research aimed to verify unanswered questions focused on multisensory stimulation and integration as follows. Q1: Visual or olfactory stimuli influence the same way regardless of whether it is unimodal or multimodal ? Q2: Is liking the only intuitive value compared to other semantical values such as freshness, weightiness and experience ? The current research presented significant findings which answer the above-mentioned questions. A1: Visual knowledge is more solid and influenceable than olfactory knowledge in unimodal conditions, whereas olfactory knowledge is more solid and influenceable than visual knowledge in multimodal conditions. A2: Liking is a more clear and effectible value to verify the impression of the perceived stimuli. And the worthiest finding from the results is that liking is relevant to experience. The evaluation results of liking show similar trends as experience, and vice versa. Further research should clarify in further research whether liking correlates with sensitivity or not in the structured sensory and leads the subjective evaluations to modify specific evaluation values. The findings of this research are worthy as they provide a hint to enhance value-driven design factors to foster more valuable and creative experiences which will be beyond our expectations.","PeriodicalId":147286,"journal":{"name":"DS 117: Proceedings of the 24th International Conference on Engineering and Product Design Education (E&PDE 2022), London South Bank University in London, UK. 8th - 9th September 2022","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133680338","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
What role does locale play in shaping design identity? How do designers see their own sense of place made manifest in their work? How can we encourage a sense of localism in young designers? Product design is particularly susceptible to globalisation; its relationship with technology links it to greater homogenisation. The nature of trends and notions of “ good design ” engenders a sense of place and localised design identities, but by definition design is a solution, and solutions cannot be divorced from the problems they address, from their context. This is where sense of place comes in and why it is important; it roots design in its most fundamental reason for existing. Without a sense of place, design can look great, work well, be interesting and engaging, but it can’t truly be effective. This paper considers student projects over a 15-year period that trace the development of a methodology where place of design, manufacture and use become key drivers for design outputs. By focusing on immediate surroundings, a series of design projects question the nature of local materials, people and society, through local industry, football teams (from Potters, Glovers and Hatters to Chairboys ) and social history. The outcomes help to inform students of their surroundings and encourages them to explore and engage with the localities. A defined sense of localism helps to place them, to settle them into new homes and workspaces, and to understand the nature, history and context of their new areas.
{"title":"PRODUCTS WITH PROVENANCE: DEVELOPING A SENSE OF PLACE IN PRODUCT DESIGN EDUCATION","authors":"L. Buck","doi":"10.35199/epde.2022.73","DOIUrl":"https://doi.org/10.35199/epde.2022.73","url":null,"abstract":"What role does locale play in shaping design identity? How do designers see their own sense of place made manifest in their work? How can we encourage a sense of localism in young designers? Product design is particularly susceptible to globalisation; its relationship with technology links it to greater homogenisation. The nature of trends and notions of “ good design ” engenders a sense of place and localised design identities, but by definition design is a solution, and solutions cannot be divorced from the problems they address, from their context. This is where sense of place comes in and why it is important; it roots design in its most fundamental reason for existing. Without a sense of place, design can look great, work well, be interesting and engaging, but it can’t truly be effective. This paper considers student projects over a 15-year period that trace the development of a methodology where place of design, manufacture and use become key drivers for design outputs. By focusing on immediate surroundings, a series of design projects question the nature of local materials, people and society, through local industry, football teams (from Potters, Glovers and Hatters to Chairboys ) and social history. The outcomes help to inform students of their surroundings and encourages them to explore and engage with the localities. A defined sense of localism helps to place them, to settle them into new homes and workspaces, and to understand the nature, history and context of their new areas.","PeriodicalId":147286,"journal":{"name":"DS 117: Proceedings of the 24th International Conference on Engineering and Product Design Education (E&PDE 2022), London South Bank University in London, UK. 8th - 9th September 2022","volume":"273 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116237253","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Luis Miguel Gutierrez Contreras, Luis Alberto Cordoba, Alejandro Acuña
The concept of crafts is linked to the manual art of creating utilitarian or ornamental objects with traditional materials and processes guided by a generational knowledge. Adding new technologies and materials is acceptable considering boundaries guided by the presence of human customs and family heritage. The history has been leaded since the human being exists, as a domain of the material and the development of technologies to transform it being capable to create tools that are useful for their survival. Neo-Craft is a neologism that gives name a new trend in product design where tradition and technology crossover to bring a new typology of products, linked by folk tradition and the richness of cultural manifestations that people maintain through generations with new ways to manufacture using non-conventional materials and processes. Over a one-week workshop, undergraduate students of Industrial Design programme, designed neo-craft products blending Mexican folk tradition with digital manufacturing technologies. This paper describes the process in the implementation of the challenge and presents the discoveries that were found during the workshop.
{"title":"NEO-CRAFT AS A TREND TO DESIGN A NEW TYPOLOGY OF 3D PRINTED PRODUCTS","authors":"Luis Miguel Gutierrez Contreras, Luis Alberto Cordoba, Alejandro Acuña","doi":"10.35199/epde.2022.74","DOIUrl":"https://doi.org/10.35199/epde.2022.74","url":null,"abstract":"The concept of crafts is linked to the manual art of creating utilitarian or ornamental objects with traditional materials and processes guided by a generational knowledge. Adding new technologies and materials is acceptable considering boundaries guided by the presence of human customs and family heritage. The history has been leaded since the human being exists, as a domain of the material and the development of technologies to transform it being capable to create tools that are useful for their survival. Neo-Craft is a neologism that gives name a new trend in product design where tradition and technology crossover to bring a new typology of products, linked by folk tradition and the richness of cultural manifestations that people maintain through generations with new ways to manufacture using non-conventional materials and processes. Over a one-week workshop, undergraduate students of Industrial Design programme, designed neo-craft products blending Mexican folk tradition with digital manufacturing technologies. This paper describes the process in the implementation of the challenge and presents the discoveries that were found during the workshop.","PeriodicalId":147286,"journal":{"name":"DS 117: Proceedings of the 24th International Conference on Engineering and Product Design Education (E&PDE 2022), London South Bank University in London, UK. 8th - 9th September 2022","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116665433","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"PRODUCTIVE FAILURE IN ACTION","authors":"Stefan Persaud, B. Flipsen, Erik Thomassen","doi":"10.35199/epde.2022.36","DOIUrl":"https://doi.org/10.35199/epde.2022.36","url":null,"abstract":"","PeriodicalId":147286,"journal":{"name":"DS 117: Proceedings of the 24th International Conference on Engineering and Product Design Education (E&PDE 2022), London South Bank University in London, UK. 8th - 9th September 2022","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123496226","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
O. Ní Bhriain, Louise Kiernan, Bernard Hartigan, Eoin White, Hannah Fahey, Kathleen Turner
The aim of this research was to pilot a multi-disciplinary approach to creative pedagogy through collaboration between students and faculty from performing arts and product design. Creative pedagogy of process is a pedagogical approach that draws on the interaction and engagement of faculty and students across a range of disciplines and involves ethnographic research methods combined with reflective practice and a user centred design approach. This approach develops transversal competencies, common across creative domains and provides a rich learning environment for students and faculty alike. This paper examines the challenges and opportunities presented by a collaboration of this nature. Both performing Arts and Product Design are studio-based disciplines and have clear commonalities and points of convergence. The impetus for this collaborative endeavour emerged from several discussions between faculty members relating to the importance of facilitating creativity in the third level studio. Lecturers in performance practice and product design noted similarities between pedagogical approaches in both realms to foster a learning environment where trial and error and process- based learning with reflexivity were key components. We shared common traits despite the perceived chasm between artistic and scientific research methods and output metrics. We progressed our enquiry through establishing undergraduate peer learning projects. We sought to identify the opportunities and challenges presented by this interdisciplinary collaboration.
{"title":"PEDAGOGY OF PROCESS: INTERDISCIPLINARY CASE STUDIES FROM AN IRISH UNIVERSITY","authors":"O. Ní Bhriain, Louise Kiernan, Bernard Hartigan, Eoin White, Hannah Fahey, Kathleen Turner","doi":"10.35199/epde.2022.114","DOIUrl":"https://doi.org/10.35199/epde.2022.114","url":null,"abstract":"The aim of this research was to pilot a multi-disciplinary approach to creative pedagogy through collaboration between students and faculty from performing arts and product design. Creative pedagogy of process is a pedagogical approach that draws on the interaction and engagement of faculty and students across a range of disciplines and involves ethnographic research methods combined with reflective practice and a user centred design approach. This approach develops transversal competencies, common across creative domains and provides a rich learning environment for students and faculty alike. This paper examines the challenges and opportunities presented by a collaboration of this nature. Both performing Arts and Product Design are studio-based disciplines and have clear commonalities and points of convergence. The impetus for this collaborative endeavour emerged from several discussions between faculty members relating to the importance of facilitating creativity in the third level studio. Lecturers in performance practice and product design noted similarities between pedagogical approaches in both realms to foster a learning environment where trial and error and process- based learning with reflexivity were key components. We shared common traits despite the perceived chasm between artistic and scientific research methods and output metrics. We progressed our enquiry through establishing undergraduate peer learning projects. We sought to identify the opportunities and challenges presented by this interdisciplinary collaboration.","PeriodicalId":147286,"journal":{"name":"DS 117: Proceedings of the 24th International Conference on Engineering and Product Design Education (E&PDE 2022), London South Bank University in London, UK. 8th - 9th September 2022","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123667128","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
DS 117: Proceedings of the 24th International Conference on Engineering and Product Design Education (E&PDE 2022), London South Bank University in London, UK. 8th - 9th September 2022
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