TEACHING IN THE CLOUD MICROELECTRONICS UBIQUITOUS LAB (MULAB)

CAD laboratory students activity is mandatory for microelectronics teaching. This, applied in the deep-submicron era, creates new challenges to couple software management simplicity to user friendliness inside lab sessions, which requires the use of complex tools and concepts. In this paper, a new approach to microelectronics CAD deployment is presented, based on virtualization capabilities of new servers hardware and software technology. A test case, realized at Politecnico di Torino, degree of Electronic Engineering, is presented, with real world results on resource consumption and user satisfactio

Meeting technological challenges? Design and technology in schools 2007–10

Using evidence from Her Majesty’s Inspectors’ focused surveys of primary and secondary schools, this report evaluates the provision of design and technology (D&T) in the curriculum. Most pupils in all of the schools visited enjoyed designing and making products, solving problems and seeing their ideas taking shape. Achievement and provision in D&T were good in about two thirds of the primary schools and just under half of the secondary schools, particularly where up-to-date technologies were used and explained accurately to pupils. However, a lack of subject-specific training for teachers undermined efforts to develop pupils’ knowledge and skills, particularly in using electronics, developing control systems and using computers to aid designing and making. The report also addresses the challenges presented to schools in modernising the D&T curriculum so that it keeps pace with global technological development

Mixed-methods research: a new approach to evaluating the motivation and satisfaction of university students using advanced visual technologies

The final publication is available at link.springer.comA mixed-methods study evaluating the motivation and satisfaction of Architecture degree students using interactive visualization methods is presented in this paper. New technology implementations in the teaching field have been largely extended to all types of levels and educational frameworks. However, these innovations require approval validation and evaluation by the final users, the students. In this paper, the advantages and disadvantages of applying mixed evaluation technology are discussed in a case study of the use of interactive and collaborative tools for the visualization of 3D architectonical models. The main objective was to evaluate Architecture and Building Science students’ the motivation to use and satisfaction with this type of technology and to obtain adequate feedback that allows for the optimization of this type of experiment in future iterations.Postprint (author’s final draft

Changeable Context of the New Technology Artefact and the Changeable Research Outcomes

Computer Aided Drawing (vector based) and painting (raster based) packages, allow the mock-up of designs in virtual space. Whilst this is beneficial for visualising the end product, both methods of drawing have been applied to new and existing machining technologies so that some aspect of the product is derived from a computer file. Today, the applied artist now has an abundance of CAD/CAM (Computer Aided Drawing / Computer Aided Manufacturing) technologies awaiting them. So much so, that in the past fifteen years, many makers have embarked upon practice-led research to find out what a particular technology can do with regard to their design interests. Within such research, the object is the manifestation of what has been discovered through the research activity. This paper considers the relationship between the content of the research object and the context for the object’s reception. This is examined with regard to the author’s research with new technologies for the applied arts. Examples will highlight how the characteristics of artefacts that arise from the research can help determine who the audience for the work is, and how the technology might be used by different kinds of craft practitioners. References will also be made to the work of other designer-makers working with and researching similar technologies. Evidence from practical examples will also be supported by a more theoretical discussion. The implications of supplying, or not supplying, background information for an audience within a variety of settings on the perceived content/context of the object, and the communication of the research, will also be discussed. It is concluded that when developing new processes, keeping the work open to a number of audiences can maximise the outcomes and increase the chances of the process being integrated within practice. The discussion also highlights a trend of positioning the consumer/viewer at the forefront of the research, and a need to evaluate their experiences

A Thick Industrial Design Studio Curriculum

This presentation was part of the session : Pedagogy: Procedures, Scaffolds, Strategies, Tactics24th National Conference on the Beginning Design StudentThis paper describes an industrial design studio course based in a private university in Izmir, Turkey where second year industrial design students, for the first time, engage in a studio project. The design studio course emphasises three distinct areas of competence in designing that are the focus of the curriculum. They are; design process: the intellectual act of solving a design problem; design concept: the imagination and sensibility to conceive of appropriate design ideas; and presentation: the ability to clearly and evocatively communicate design concepts. The studio is 'thick' with materials, tasks and activities that are intentionally sequenced to optimise learning in a process that is known as educational 'scaffolding.' The idea of a process--a patient journey toward it's destination, is implicit in the studio that is full of opportunities for reflection-in-action. A significant feature is the importance placed on drawing and model making. An exemplary design process should show evidence of 'breadth'--meaning a wide search for solutions where a range of alternatives explored throughout; followed by an incremental refinement of the chosen solution where elements of the final design concept are developed thoroughly and in detail--called 'depth.' Learning to design is predicated on an engagement in and manipulation of the elements of the design problem. Evidence of that learning will be found by examining the physical materials and results of the design process. The assessment criteria are published with the brief at the outset of design project and outcomes are spelt out at the end. Students are remind throughout project of the criteria, which is to say they are reminded of pedagogical aims of the studio. Assessment criteria are detailed and the advantages of summative assessment are described

Product design as a vehicle to integrate arts and sciences in design education

In many parts of the world, Higher Education has often considered arts and sciences as an odd combination and many institutions have avoided this particular mix. Historically, this has been the accepted view; however, this view is changing. This paper provides a detailed account of curriculum development and strategies for enabling arts and science disciplines to blend in an effective way. It shows how strong alliances can be built in line with industry and general design practice expectations through “Live Projects”, that is projects sponsored by industry or other clients. The case studies provided in the paper are based on work conducted in the Product Design and Engineering Department at Middlesex University. The paper further demonstrates the importance of industry involvement, and how industrial collaborations can be managed to ensure that the academic provision is both relevant to the sector as well as responding to the needs of students. The paper was presented at the International Association of Societies of Design Research (IASDR07), held at the Hong Kong Polytechnic University. The papers for the conference were reviewed in a double blind review process, and the conference was attended by an audience of over 400 delegates, focusing on emerging trends in design researc