The Responsibility of Law Schools: Educating Lawyers as Counselors and Problem Solvers

American legal education is as strong as ever in doctrine and legal analysis; however, it is strikingly weak in teaching other foundational skills and knowledge that lawyers need as counselors, problem solvers and negotiators. Brest proposes a series of advanced courses that integrate the fundamental lawyering skills of counseling, problem solving and negotiation with insights from other disciplines

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

Experimentation and Representation in Architecture: analyzing one’s own design activity

Architects materialize ideas on physical supports to register their thoughts and to discover new possibilities from hints and suggestions in their own drawings. Uncertainty is inherent to creative processes encouraging the production of different ideas through testing. This research brings to light that the re-examination of artefacts from new points of view allows for the review and generation of design ideas and decisions, capacitating students to make yet new discoveries from what they have done so far. Tacit knowledge aids specific decisions. Student reports become analytical records of their material registers (sketches, physical and virtual models) making it explicit that which is implicit in those artefacts. This apparently confirms previous studies that suggest that knowledge per se not always triggers or controls decisions in design. Many physical as well as perceptive actions actually lead the initial steps and play a crucial role in the whole course of production. Besides serving as external representations, sketches and models provide visual hints that will be checked later, favouring the upcoming of the unexpected, stimulating creativity. The intent here is to point out how these different means of representation and expression contribute in a peculiar manner to the whole process of discovery and solution to problems in architecture. The authors propose here a reflection on the process of design and its uncertainties in its initial phase, concentrating on sketches and real models as experimentations. They consider these means not from a graphic and physical register stand point, but in terms of conception and concepts they embody, as records of students thinking and knowledge. Keywords: Experimentation; Uncertainty; Representation; Design Process; Cognition; Education</p

The ‘responsibility’ factor in imagining the future of education in China

Design and creativity have been a considerable force for improving life conditions. A lot of effort has been invested in explaining the design process and creativity mainly through the design thinking methodology, but design accountability and responsible actions in the design process are, yet, to be fully explored. The concept of design ethics is now increasingly scrutinized on both the level of business organization and of the individual designer. A 4-day design workshop that involved creativity techniques provided the base to explore responsibility in the fuzzy front end of the design process. The future of education in 2030 was defined as the workshop's theme and fifty-six students from China were asked to create detailed alternative scenarios. A number of imagination exercises, implementation of technological innovations and macro-environment evolutions employed in the workshop are discussed. The aim was to incite moral and responsible actions among students less familiar with creative educational contexts of student-led discovery and collaborative learning. This paper reflects on the use of creativity methods to stimulate anticipation in (non)design students

Dalcroze meets technology : integrating music, movement and visuals with the Music Paint Machine

peer reviewedNew interactive music educational technologies are often seen as a ‘force of change’, introducing new approaches that address the shortcomings (e.g. score-based, teacher-centred and disembodied) of the so-called traditional teaching approaches. And yet, despite the growing belief in their educational potential, these new technologies have been problematised with regard to their design, reception, implementation and evaluation. A possible way to optimise the realisation of the educational potential of interactive music educational technologies is to connect their use to music educational approaches that stood the test of time and as such may inspire technologies to become a bridge between tradition and innovation. This article describes an educational technology (the Music Paint Machine) that integrates the creative use of movement and visualisation to support instrumental music teaching and learning. Next, it connects this application to such an established music educational method, the Dalcroze approach. Through the lens of a set of interconnected aspects, it is shown how the Music Paint Machine’s conceptual design aligns to the underlying principles of this approach. In this way, it is argued that integrating Dalcroze-inspired practices is a plausible way of realising the didactic potential of the system. An appendix with example exercises is provided

Management learning at the speed of life:Designing reflective, creative, and collaborative spaces for millenials

This paper introduces the concept of "management learning at the speed of life" as a metaphor to inspire millenials. Millenials may face three major problems in relation to management learning: lack of concentration, lack of engagement, and lack of socialization. Management learning at the speed of life addresses these potential problems through three dimensions: reflective, creative, and collaborative learning. This paper illustrates the benefits of reflective, creative, and collaborative spaces for millenials using practices from leadership and personal development courses that were offered over seven years in Canada, Turkey, and the UK. These courses incorporated the latest technology that brought the course activities up to the speed of life