International Journal of Technology and Design Education最新文献

Design teams often rely on precedents, but the impact of using the direct experience of a precedent on design behavior requires further investigation. To explore this impact, fifteen teams of master students of architecture participated in two design sessions: one without and the other with a previous experience of visiting an example. The think-aloud protocol was applied, and a multi-layer coding based on FBS and precedent types was proposed to measure episodic (a specific design experience) and semantic (general design principles) precedents. Furthermore, a measurement was proposed to examine how and when the teams analyzed the precedents or applied them to solve the problem. Dynamic analyses were used to study the differences between the two conditions based on the distribution of precedents and the Problem-Solution index. Statistical analysis unfolded significant differences between the two conditions. In the second design session, the number of precedents, solution generations, and analyzing precedents were significantly increased. The first design session's episodic precedent had categorical similarity with both semantic and episodic precedents of the second design session. The results also indicated that design teams preferred to analyze the visiting experience of the precedent at the outset of the design session and apply other precedents for solving the design problem until the end of the session. While in the second design session, solution generation significantly increased, more episodic precedents related to the direct experience were used for problem framing. From another perspective, these precedents were also applied more to generate design concepts rather than refining design ideations.

There has been much previous research into online group learning, but they have not been aware of or focused on the challenges that design disciplines encounter in terms of interaction when moving to online delivery. This qualitative study comprised 3 participatory design workshops and 22 one-to-one interviews that included a total of 34 teachers and students from the School of Design at the University of Leeds. Participants reported the challenges and feelings they encountered in online group learning during the COVID-19 pandemic. The study found that the interactive experience of group learning is mainly influenced by the size of the group, the layout of the platform interface, the teacher’s management style and the conflict within the group, with more far-reaching discussions providing specific questions and subtle suggestions. The article’s findings can inform future strategies for online group learning for students and teachers of design disciplines in design higher education institutions.

Abstract

This research paper investigates the intersection of the maker movement and educational innovation, using the China-U.S. Young Maker Competition as a foundational example. It examines how maker education, fueled by hands-on learning and a curiosity-driven approach, can evolve and influence. The study explores the roles and impacts of Human-Computer Interaction (HCI), Design-Driven Innovation (DDI), and Cross-Cultural Perspectives (CCP) within maker education. It highlights HCI’s connection of technology with learning, DDI’s focus on user-centered solutions, and the significance of CCP in enhancing cultural collaboration, vital for fostering an innovative and creative future. This paper offers a detailed perspective on the current state and future potential of maker education. It proposes a roadmap for the coming decade, emphasizing collaborative learning and creative endeavors, all set within the engaging environment of the competition.

STEAM contests play a pivotal role in maintaining students’ interest and motivation in STEAM education. Finding factors that are related to students’ continuance intention (CI) to participate in STEAM contests is important for promoting STEAM education. Previous studies mostly focused on exploring the relationships between students’ behavioural attitude, positive affect and their CI for a STEAM contest. However, few studies have explored students’ CI from the perspective of help-seeking attitude with the belief-attitude-behaviour model. Thus, this study investigated the relationships among students’ hands-on making self-efficacy (HMSE), incremental belief of intelligence (IBI), help-seeking attitudes including instrumental help-seeking (IHS) and executive help-seeking (EHS), and their CI for STEAM contests based on the belief-attitude-behaviour model. A total of 405 elementary and junior high school students who took part in the 2022 STEAM PowerTech contest participated in this study. Structural equation modelling was used for confirmatory analysis to validate the hypotheses. Results indicated that EHS exhibited a negative association with CI, whereas IHS exhibited a positive association with CI. HMSE and IBI were negatively associated with EHS, and positively associated with IHS. This study implies that students with a high level of HMSE and IBI are inclined to exhibit IHS and thus have a strong CI for STEAM contests. The findings provide suggestions on enhancing students’ CI for STEAM contests.

Design students must develop competence in a wide range of areas in order to be successful in their future practice. Increasingly, knowledge of design methods is used to frame both a designer’s repertoire and their overall facility as a designer. However, there is little research on how students build cognitive schema in relation to design methods or how these schema relate to specific patterns of engagement as developing designers. In this paper, we report a multiple case study, capturing the experiences of four advanced undergraduate students enrolled in a User Experience (UX) design program at a large research-intensive institution. Through reflexive thematic analysis on our interview study outcomes, we describe the wide variety of metaphors that these students used to organize and frame their understanding of design methods, including both principles they used to consider methods as knowledge, and the ways in which they felt these organizing principles impacted their practice of design. We conclude with recommendations for further research on the uptake of methods-focused competence in design education and practice.

Abstract

Based on Folk theory, Media Equation, and AI literacy research, the study constructed an interview outline and selected 72 students in 4th and 5th grade in three primary schools located in the Minhang and Putuo districts of Shanghai (two in the Minhang district and one in the Putuo district) as the study participants for focus group interviews. The study found that the availability of voice interaction is an essential basis for children to judge the level of intelligence of a machine; additionally, chatting is also the starting point for young children to build a close relationship with AI. Although AI cannot replace their friends, it can become a friend to them. While children expect the future of AI to be beyond the current level of intelligence and emotion and to enable the full use of machines in multiple scenarios and various fields, they are also concerned about issues such as privacy breaches that devices may cause in the future and believe that technology should not develop outside of human control.

Creativity is an important skill in the 21st century, and design thinking has been proposed as a methodology for fostering creativity. Design creativity involves two non-rational aspects: motivation and empathy. However, little is known about how empathy and motivation work in synergy with creativity. This study explored the underlying mechanisms of empathy and motivation in creativity in design thinking. We built an explanatory model to examine the effect of empathy on motivation and creativity and the mediating effects of four aspects of motivation (i.e., attention, relevance, confidence, and satisfaction). In the study, 220 6th-grade students participated in an integrated STEM curriculum that centered on design thinking activities that lasted one semester, and then completed a questionnaire measuring their perceptions of empathy, motivation, and creativity at the end of the design activities. Partial least squares structural equation modelling was used to analyze the collected data. The results showed that empathy positively predicted creativity. In addition, empathy had a significant impact on creativity through the effect of intrinsic motivation, but not through that of extrinsic motivation. Among the four aspects of motivation, attention, relevance, and confidence each strengthened the association between empathy and creativity. However, satisfaction had a negative effect on creativity and a non-significant mediating effect. These findings increase our understanding of the internal mechanisms of design thinking and creativity. Some practical implications of empathy and motivation in creativity are also discussed.

Abstract

Design thinking dispositions are essential for students to understand why design thinking knowledge should be applied to perform specific tasks. However, few studies are focused on teaching design thinking dispositions. This study proposes a conceptual model that supports teaching design thinking dispositions to address this gap. The model was instantiated in an undergraduate course. Students’ reflections about the course were collected to evaluate the model. The use of the model is also demonstrated by considering different teaching scenarios. This study contributes to better teaching and learning design thinking dispositions based on a unique model that helps educators organize their design thinking courses. The study also derives some implications for educators. While teaching design thinking knowledge and skills is essential, developing students’ design thinking dispositions is equally essential.

Spatial thinking is ubiquitous in design. Design education across all age groups encompasses a range of spatially challenging activities, such as forming and modifying mental representations of ideas, and visualizing the scenarios of design prototypes being used. While extensive research has examined the cognitive processes of spatial thinking and their relationships to science, technology, engineering, and mathematics learning, there remains a knowledge gap regarding the specific spatial thinking processes needed for open-ended problems, which may differ from those assessed in close-ended, analytical spatial tasks. To address this gap, we used educational design-based research to develop a nature-inspired, design-by-analogy project and investigate the spatial thinking processes of young, novice designers. 16 children from an international school in the Netherlands participated in this five-week design project. Multimodal evidence from classroom recordings and children’s design works were triangulated to offer insight into the key spatial thinking processes involved in their creation of nature-inspired, analogy-based design prototypes. Our results revealed spatial thinking processes that might not align with those assessed in conventional spatial tests and may be unique to design or open-ended problem-solving. These processes include abstracting spatial features to infer form-function relationships, retrieving a range of relevant visual information from memory, developing multiple possible analogical matches based on spatial features and relationships, elaborating and iterating on the design concepts and representations to make creative and suitable solutions for the design challenge, as well as visualizing design prototypes in practical usage scenarios. By highlighting the nuanced differences between spatial thinking in open-ended, divergent thinking tasks and conventional spatial tasks that demand single correct solutions, our research contributes to a deeper understanding of how children utilize spatial thinking in design and open-ended problem-solving contexts. Furthermore, this case study offers practical implications for scaffolding children's analogical reasoning and nurturing their spatial thinking in design education.

This article presents findings from an instructional-based inquiry, aimed to evaluate the critiquing characteristics of an accredited interior design program, and to optimize the experience of studio-based feedback practices for contemporary students. This investigation pre-dates the unprecedented shift to remote instruction due to the global pandemic, providing a unique snapshot of Generation Z emergent designers at a time when in-person feedback reigned. Data was collected through an anonymous, voluntary survey which invited students to share their experiences and perceptions of various modalities of project feedback. The findings are four-fold. First, students view critique not merely as a validation or gatekeeping function but as an interactive form of guidance, underscoring the necessity of harmonizing directive discourse with empowering feedback. Second, methods like peer reviews, desk crits, and illustrative feedback are seen as particularly beneficial, being both personalized and intimate, and are valued equally in both in-studio and out-of-studio settings. Third, 1–2 weekly contact hours with instructors is preferred for project feedback, pointing to a possible disparity between student expectations and prevailing practices. Finally, students recognized the potential benefits of using online critiquing tools for project feedback, even prior to the extensive uptake of online platforms during the pandemic in which students had little experience using them. This study contributes valuable context to the future of interior design education, and illustrates areas in which research concerning modern students and instructional practices can be further developed.