Design Divergence Using the Morphological Chart

This paper presents the findings of a review carried out on twelve morphological charts completed in groups, containing a total of 686 sub-solution sketches made for a pool of 21 sub-functions. The charts were reviewed as a whole in terms of group performance in idea generation for a decomposed design problem. Then the ideas generated as sub-solutions were grouped according to sub-functions and were reviewed in terms of idea content and effort in design divergence. It was seen that a background preparation with product trials, 3D component analyses and experience in using the morphological chart method affected the number of cells that the participants completed, as well as the ways in which they filled in the morphological chart. The reviews revealed eleven factors affecting design divergence using the morphological chart method, grouping under the headings of: preparations, group dynamics, boundaries of sub-functions, and analysis of components. Besides, thirteen strategies were identified that participants followed for design divergence using the morphological chart, grouping under the headings of: beginning idea generation, effective idea generation, exploring ideas, diversifying ideas and representing ideas

Dear Liv

…for me you are a bright, wise, and compassionate woman and an exemplary academic, providing an embracing environment for her colleagues. I was most fortunate to be introduced to you first in 2018 for the preparations of the Learn X Design 2019 Ankara conference. That initial shy communication conducted via emails, turned into regular online meetings when I joined the DRS EdSIG convening group in late 2019, and then into intense engagements as we started working collectively for the Learn X Design 2021 Jinan conference. Many were involved with their hard work and valuable contribution, but your involvement in particular, has been a motivation for me in the process. We spent many productive hours in online meetings, organizing the event, and building the background to realise it. I love the tapestry that you have behind you on screen in the background, and I love that it is you who have made it. I love you telling us that you will go skiing after the meeting. I can actually imagine you in your suit, grasping your gear, and starting to ski immediately as you step out of the cabin. That is how skilled and talented I find you. Many times, I have felt a reciprocal understanding between the two of us, which has always been reassuring and encouraging. I have learned a lot from you. Thank you for being a friend

Visual Thinking Styles and Idea Generation Strategies Employed in Visual Brainstorming Sessions

This paper presents the findings of visual analyses conducted on 369 sketch ideas generated in three 6-3-5 visual brainstorming sessions by a total of 25 participants, following the same design brief. The motivation for the study was an interest in the thematic content of the ideas generated as groups, and the individual representation styles used for the sketches. The analyses revealed the determinants of individual visual thinking styles as: idea types, sketching patterns, sketching styles, annotation styles, and performances in producing design solutions. The idea generation strategies of the participants were: using analogies, diversifying the design solutions, determining the usage context, and working with themes. The effects of group dynamics on the performances of the participants were: management of the idea generation effort, reflections of the idea contents explored within groups, and reflections of the representation styles of peers. The paper finally identifies four profiles of idea generators and discusses the implications of the findings

Jinan 2021: Engaging with challenges in design education: 6 th International Conference for Design Education Researchers: DRS Learn X Design 2021

10th Anniversary of the DRS Learn X Design Conference Series The year 2021 has been particularly special for the DRS Learn X Design (LxD 2021)1 organising teams. The conference series marked the 10th anniversary since the first event was held in Paris in 2011 (Bohemia et al., 2011)2 , see the reflection on page 50. Since then, the conferences have been organised biannually. The DRS/CUMULUS 2nd International Conference for Design Education Researchers was held in Oslo in 2013, on the theme of Design Learning for Tomorrow – Design Education from Kindergarten to PhD (Lloyd & Bohemia, 2013; Nielsen et al., 2015; Reitan et al., 2013)3 , see the reflection on page 45. The DRS/CUMULUS/Design-Ed Learn X Design 3rd International Conference for Design Education Researchers was held in Chicago in 2015, on the theme of Education and Design to Enlighten a Citizenry (VandeZande et al., 2015)4 , see the reflection on page 38. The DRS Learn X Design 4th International Conference for Design Education Researchers was held in London in 2017, on the theme of The Allure of the Digital and Beyond (Pritchard & Lambert, 2017)5 , see the reflection 35. The DRS Learn X Design 5th International Conference for Design Education Researchers was held in Ankara in 2019, on the theme of Insider Knowledge (Börekçi et al., 2019)6 , see the reflection on page 30. The theme for the 6th International Conference for Design Education Researchers hosted by the Shandon University of Art & Design was Engaging with Challenges in Design Education (Bohemia et al., 2021). The general 2021 conference theme reflected the unprecedented changes which took place in design education around the world since the first event was held in Paris a decade ago. For example, in China since 2016, more than 2000 of institutions have been delivering design programmes. Every year, also in China alone, more than 540 000 students enrol into Design programmes. And the number of students studying design and related majors in the Chinese schools now exceeds 2 million. The design discipline has become the most prominent one in more than 140 first-level disciplines and more than 90 undergraduate majors in China. China’s growth of design programmes and design student graduates at universities is shifting the very foundation of how design is taught (Pan, 2021). In additional, the Design is being taken up increasing by other disciplines (Bravo & Bohemia, 2021) and being incorporated into general education (Lutnæs, 2019) which requires us to reconceptualise the design education and its purposes (Bravo & Bohemia, 2020; Lloyd, 2011). This echoes advocation by scholars such as Anita Cross (1984), Buchanan (2000), and Nielsen and Brænne (2013) for design to become part of the general education. At the time when the general conference theme was proposed, Covid-19 which forced the most rapid and radical changes on design education, was not yet on horizon (see Figure 1). However, as the education has been rapidly transformed due to the Covid-19 pandemic that has affected the entire world, the general theme of the conference indivertibly became a fitting theme

Framing students’ reflective interactions based on photos

Critical reflection, addressing students’ attitude, beliefs and values related to pressing topics in the world, plays a crucial role in developing ethical sensitiveness and critical design literacy in design education. Critical reflection is provoked by discussing self-made photos, as is demonstrated in the research method Photovoice. This paper considers Photovoice in design education for its ability to foster learning through self-guided critical reflective interactions with peers based on self-made photos. Research on how to support this is lacking. This paper addresses this gap by studying students engaging in self-guided Photovoice assignments. Results consist of adapted steps for Photovoice in education and illustrate potential as well as boundaries of self-guided Photovoice through students’ quotes and photomaps. Also, five frames of interpretation, suggested by students engaged in self-guided Photovoice, contribute to previous knowledge and may inspire the design education community to start experimenting with Photovoice in course work. The final aim is to support students in critical reflection, a crucial skill for responsible design professionals

Editorial: Futures of Design Education

The chairs' introductory editorial for the theme track 'Futures of Design Education'