Developing vocational practice in the jewellery sector through the incubation of a new “project-object”

This paper analyses a work placement scheme established to create the conditions to: (i) incubate new designs in the jewellery sector in Birmingham; (ii) support a jewellery company compete more effectively in the global market; (iii) assist a newly qualified graduate jeweller to enter the jewellery sector. It introduces a new theoretical framework based on concepts from: Cultural-Historical Activity Theory-'project-object'; Workplace Learning-'vocational practice'; Philosophy of Mind-'space of reasons'; to analyse individual and organisational contributions to workplace learning in this scheme. It identifies the strategies and tactics used by: (i) the organisations involved with the scheme to facilitate the incubation of the new designs, and (ii) an aspiring jewellery designer to create a new product range. The paper concludes with a discussion of the implications of this conceptual framework for debates in workplace learning about: (i) the 'front-loaded' versus 'practice-based' conceptions of vocational education and (ii) the role of epistemic objects and practices in the development of vocational practice. © 2008 Elsevier Ltd. All rights reserved

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

Education to Employment: Designing a System that Works

Considering the education-to-employment system as a highway with three critical intersections -- enrolling in postsecondary education, building skills, and finding a job -- this research has determined places where students take wrong turns or fall behind, and why. With increased data and innovative approaches, employers, educators, governments and youth can create a better system

Form Follows Feeling – The Acquisition of Design Expertise and the Function of Aesthesis in the Design Process

While the consideration of functional and technical criteria, as well as a sense of coherence, are basic requirements for solving a design problem; it is the ability to induce an intended quality of aesthetic experience that is the hallmark of design expertise. Expert designers possess a highly developed sense of design, or what in this research is called aesthesis. Reflection on 25 years teaching design in the USA, Hungary, and China led to the observation that most successful design students, more than intellectual ability, drawing, model making or drive, all seemed to possess what may be called an intuitive sense of good design. It is not that they already know how to design, or that they are natural designers, it is that they have a more developed sense aesthesis. This research takes a multi-disciplinary approach to build a theory that describes what is involved in acquiring design expertise, identifies how aesthesis functions in the design process and determines if what appears to be an intuitive sense of design is just natural talent or an acquired ability. The research started with topics related to design methodology, which led to questions related to cognitive psychology, especially theories of problem-solving. An in-depth review of research in embodied cognition challenged the disembodied concept of the mind and related presuppositions and reintroduced the body as an essential aspect of human cognition. This lead to related topics including: pre-noetic (pre-verbal) knowledge, the cognitive architecture of the brain, sense mechanisms and perception, limitations and types of memory as well as the processing capacity of the brain, and especially how emotions/feelings function in human cognition, offering insight into how designing functions as a cognitive process.  The research provides evidence that more than technical rationality, expert designers rely heavily on a highly developed embodied way of knowing (tacit knowledge) throughout the design process that allows them to know more than they can say. Indeed, this is the hallmark of expert performers in many fields. However, this ability is not to be understood as natural talent, but as a result of an intense developmental process that includes years of deliberate practice necessary to restructure the brain and adapt the body in a manner that facilitates exceptional performance. For expert designers it is aesthesis (a kind of body knowledge), functioning as a meta-heuristic, that allows them to solve a complex problem situation in a manner that appears effortless. Aesthesis is an ability that everyone possesses that expert designers have highly developed and adapted to allow them to produce buildings and built environments that induce an intended quality of aesthetic experience to the user. It is a cognitive ability that functions to both (re)structure the design problem, evaluates the solution and allows the designer to inhabit the design world feelingly while seeking aesthetic resonance that anticipates the quality of atmosphere another is likely to experience. This ability is critical to the acquisition of design expertise

Qualitative principles for designing children’s educational environments based on nurturing creativity approach

All children show a lot of creativity themselves, but gradually due to the influence of adults and the environments in which they are, their creative power is reduced and finally they become those who lack these superior characteristics. Therefore, centers should be established which make environmental element and materials and required tools to maintain and enhance the creativity of children available to them and enable them to the permanent use of this divine gift by the necessary training. Taking precautions in the design of such spaces which match their physical and mental characteristics, physical flexibility, as well as flexibility in the planning and organization of spaces and activities can dramatically provide an environment in which children’s creativity is properly revealed and promoted. In order to achieve the desired goals, the method of library studies to review the literature and also case and field studies were used. According to the results of this study, it can be stated that rich environmental motivators and appropriate trainings, influence intelligence growth and primary learning and on the other hand ignoring environmental qualitative elements in various forms can have irreparable negative effects on various aspects of growth including motion growth, intelligence and creativity. The purpose of decorating the environment in children's educational space is to simplify the learning of children and teaching of instructors. Materials and tools which are used must be chosen in such a way that they provide multiple opportunities for children to learn different skills. The method used to organize internal and external spaces is vital in creating opportunities for children to express their creativity

Qualitative principles for designing children’s educational environments based on nurturing creativity approach

All children show a lot of creativity themselves, but gradually due to the influence of adults and the environments in which they are, their creative power is reduced and finally they become those who lack these superior characteristics. Therefore, centers should be established which make environmental element and materials and required tools to maintain and enhance the creativity of children available to them and enable them to the permanent use of this divine gift by the necessary training. Taking precautions in the design of such spaces which match their physical and mental characteristics, physical flexibility, as well as flexibility in the planning and organization of spaces and activities can dramatically provide an environment in which children’s creativity is properly revealed and promoted. In order to achieve the desired goals, the method of library studies to review the literature and also case and field studies were used. According to the results of this study, it can be stated that rich environmental motivators and appropriate trainings, influence intelligence growth and primary learning and on the other hand ignoring environmental qualitative elements in various forms can have irreparable negative effects on various aspects of growth including motion growth, intelligence and creativity. The purpose of decorating the environment in children's educational space is to simplify the learning of children and teaching of instructors. Materials and tools which are used must be chosen in such a way that they provide multiple opportunities for children to learn different skills. The method used to organize internal and external spaces is vital in creating opportunities for children to express their creativity

Dynamic Organizations: Achieving Marketplace Agility Through Workforce Scalability

Dynamic organizations (DOs) operate in business environments characterized by frequent and discontinuous change, They compete on the basis of marketplace agility; that is on their ability to generate a steady stream of both large and small innovations in products, services, solutions, business models, and even internal processes that enable them to leapfrog and outmaneuver current and would-be competitors and thus eke out a series of temporary competitive advantages that might, with luck, add up to sustained success over time. Marketplace agility requires the ongoing reallocation of resources, including human resources. We use the term workforce scalability to capture the capacity of an organization to keep its human resources aligned with business needs by transitioning quickly and easily from one human resource configuration to another and another, ad infinitum. We argue that marketplace agility is enhanced by workforce agility because it is likely to meet the four necessary and sufficient conditions postulated by the resource based view (RBV) of the firm – valuable, rare, inimitable, and non-substitutable – if it can be attained. Our analysis therefore concludes by focusing on the two dimensions of workforce scalability – alignment and fluidity – and postulating a number of principles that might be used to guide the design of an HR strategy that enhances both. Throughout the paper, key concepts are illustrated using the experiences of Google, the well-known Internet search firm. Because the analysis is speculative and intended primarily to pique the interest of researchers and practitioners, the paper ends with a number of important questions that remain to be clarified

Creative Drama as a Complementary Methodology to Cooperative Learning

This study will examine the theories of cooperative learning and creative drama to determine if the use of creative drama can be an effective strategy to establish an enhanced environment for positive interdependence and to introduce students to the fundamental collaborative skills necessary to use cooperative learning