Bombs Away: visual thinking and students’ engagement in design studios contexts

In design studio, sketching or visual thinking is part of processes that assist students to achieve final design solutions. At QUT’s First and Third Year industrial design studio classes we engage in a variety of teaching pedagogies from which we identify ‘Concept Bombs’ as an instrumental in the development of students’ visual thinking and reflective design process, and also as a vehicle to foster positive student engagement. Our ‘formula’: Concept Bombs are 20 minute design tasks focusing on rapid development of initial concept designs and free-hand sketching. Our experience and surveys tell us that students value intensive studio activities especially when combined with timely assessment and feedback. While conventional longer-duration design projects are essential for allowing students to engage with the full depth and complexity of the design process, short and intensive design activities introduce variety to the learning experience and enhance student engagement. This paper presents a comparative analysis of First and Third Year students’ Concept Bomb sketches to describe the types of design knowledge embedded in them, a discussion of limitations and opportunities of this pedagogical technique, as well as considerations for future development of studio based tasks of this kind as design pedagogies in the midst of current university education trends.

Bombs away: Visual thinking and students’ engagement in design studios contexts

In design studio, sketching or visual thinking is part of processes that assist students to achieve final design solutions. At QUT’s First and Third Year industrial design studio classes we engage in a variety of teaching pedagogies from which we identify ‘Concept Bombs’ as instrumental in the development of students’ visual thinking and reflective design process, and also as a vehicle to foster positive student engagement. In First year studios our Concept Bombs’ consist of 20 minute individual design tasks focusing on rapid development of initial concept designs and free-hand sketching. In Third Year studios we adopt a variety of formats and different timing, combining individual and team based tasks. Our experience and surveys tell us that students value intensive studio activities especially when combined with timely assessment and feedback. While conventional longer-duration design projects are essential for allowing students to engage with the full depth and complexity of the design process, short and intensive design activities introduce variety to the learning experience and enhance student engagement. This paper presents a comparative analysis of First and Third Year students’ Concept Bomb sketches to describe the types of design knowledge embedded in them, a discussion of limitations and opportunities of this pedagogical technique, as well as considerations for future development of studio based tasks of this kind as design pedagogies in the midst of current university education trends.

Experiential knowledge representation and the design of product usability

The topic of designers’ knowledge and how they conduct design process has been widely investigated in design research. Understanding theoretical and experiential knowledge in design has involved recognition of the importance of designers’ experience of experiencing, seeing, and absorbing ideas from the world as points of reference (or precedents) that are consulted whenever a design problem arises (Lawson, 2004). Hence, various types of design knowledge have been categorized (Lawson, 2004), and the nature of design knowledge continues to be studied (Cross, 2006); nevertheless, the study of the experiential aspects embedded in design knowledge is a topic not fully addressed. In particular there has been little emphasis on the investigation of the ways in which designers’ individual experience influences different types of design tasks. This research focuses on the investigation of the ways in which designers inform a usability design process. It aims to understand how designers design product usability, what informs their process, and the role their individual experience (and episodic knowledge) plays within the design process. This paper introduces initial outcomes from an empirical study involving observation of a design task that emphasized usability issues. It discusses the experiential knowledge observed in the visual representations (sketches) produced by designers as part of the design tasks. Through the use of visuals as means to represent experiential knowledge, this paper presents initial research outcomes to demonstrate how designers’ individual experience is integrated into design tasks and communicated within the design process. Initial outcomes demonstrate the influence of designers’ experience in the design of product usability. It is expected that outcomes will help identify the causal relationships between experience, context of use, and product usability, which will contribute to enhance our understanding about the design of user-product interactions.

Designers' experience and collaborative design : two case studies

Experience underlies all kinds of human knowledge and determines how people interact with products and environments. It also influences designers’ knowledge and their design process. An issue not fully addressed in current literature is about the way in which designers’ individual experience influences design tasks. This paper presents two qualitative design case studies that involve experiments employing collaborative design approaches. Case study one focuses on product usability and case study two, sustainable design. Both studies applied an empirical approach; data collected consisted of sketches and audio- and video-recordings. The studies share a common research approach that opens the discussion about designers’ interactions; the way those interactions reveal knowledge and experience, the influence of these interactions upon the design process and approach to design tasks. This paper will present the correlations and discrepancies between these two case studies and the collaborative design approach used in each study, outlining future research endeavors.

Design from the everyday: continuously evolving, embedded exploratory prototypes

One of the major challenges in the design of social technologies is the evaluation of their qualities of use and how they are appropriated over time. While the field of HCI abounds in short-term exploratory design and studies of use, relatively little attention has focused on the continuous development of prototypes longitudinally and studies of their emergent use. We ground the exploration and analysis of use in the everyday world, embracing contingency and open-ended use, through the use of a continuously-available exploratory prototype. Through examining use longitudinally, clearer insight can be gained of realistic, non-novelty usage and appropriation into everyday use. This paper sketches out a framework for design that puts a premium on immediate use and evolving the design in response to use and user feedback. While such design practices with continuously developing systems are common in the design of social technologies, they are little documented. We describe our approach and reflect upon its key characteristics, based on our experiences from two case studies. We also present five major patterns of long-term usage which we found useful for design.

Imagining in the spatial design process

This thesis aims to expand our understanding of imagining in the spatial design disciplines of architecture and interior design. More than three decades after Lawson’s statement, the matter of “what goes on in a designer’s head”, or imagining and mental problem solving remains just as mysterious and just as pertinent, possibly more so given the social and environmental challenges facing humankind. The lines on a page, the small perspective sketches, the connection of lines and scrawled notes and other clues help us understand what may be going on in the mind of the architect or designer. However, how designers know that space intimately before it is built is not greatly understood and articulated – even by designers themselves. There is a gap in the market in terms of informed exploration of the thinking that occurs during the design process, and how this is translated into physical outcomes. In other words, what do we see in our mind’s eye during the design process? This thesis explores design thinking and design process; what we ‘see’ when we draw, what we ‘see’ when we design.

Artful surfaces : an ethnographic study exploring the use of space in design studios

A largely overlooked aspect of creative design practices is how physical space in design studios plays a role in supporting designers' everyday work. In particular, studio surfaces such as designers' desks, office walls, notice boards, clipboards and drawing boards are full of informative, inspirational and creative artefacts such as, sketches, drawings, posters, story-boards and Post-it notes. Studio surfaces are not just the carriers of information but importantly they are sites of methodic design practices, i.e. they indicate, to an extent, how design is being carried out. This article describes the results of an ethnographic study on the use of workplace surfaces in design studios, from two academic design departments. Using the field study results, the article introduces an idea of ‘artful surfaces’. Artful surfaces emphasise how artfully designers integrate these surfaces into their everyday work and how the organisation of these surfaces comes about helping designers in accomplishing their creative and innovative design practices. Using examples from the field study, the article shows that artful surfaces have both functional and inspirational characteristics. From the field study, three types of artful surfaces are identified: personal; shared; and project-specific. The article suggests that a greater insight into how these artful surfaces are created and used could lead to better design of novel display technologies to support designers' everyday work.

Supporting cooperative design through "living" artefacts

We present findings from a field trial of CAM (Cooperative Artefact Memory) -- a mobile-tagging based messaging system -- in a design studio environment. CAM allows individuals to collaboratively store relevant information onto their physical design artefacts, such as sketches, collages, story-boards, and physical mock-ups in the form of messages, annotations and external web links. We studied the use of CAM in three student design projects. We observed that CAM facilitated new ways of collaborating in joint design projects. The serendipitous and asynchronous nature of CAM facilitated expressions of design aesthetics, allowed designers to have playful interactions, supported exploration of new design ideas, and supported designers' reflective practices. In general, our results show how CAM transformed mundane design artefacts into "living" artefacts that made the creative and playful side of cooperative design visible.

Experiential role of artefacts in cooperative design

The role of material artefacts in supporting distributed and co-located work practices has been well acknowledged within HCI and CSCW research. In this paper, we show that in addition to their ecological, coordinative and organizational support, artefacts also play an 'experiential' role. In this case, artefacts not only improve efficiency or have a purely functional role (e.g. allowing people to complete tasks quickly), but the materiality, use and manifestations of these artefacts bring quality and richness to people's performance and help them make better sense of their everyday lives. In a domain such as industrial design, such artefacts play an important role for supporting creativity and innovation. Based on our ethnographic fieldwork on understanding cooperative design practices of industrial design students and researchers, we describe several experiential practices that are supported by design-related artefacts such as sketches, drawings, physical models and explorative prototypes -- used and developed in designers' everyday work. Our main intention in carrying out this kind of research is to develop technologies to support designers' everyday practices. We believe that with the emergence of ubiquitous computing, there is a growing need to focus on the personal, social and creative side of people's everyday experiences. By focusing on the experiential practices of designers, we can provide a much broader view in the design of new interactive technologies.

From ideation to sculpture : digital sculpting as the primary 'ideation' tool for creature design

This research project examined the potential for circumventing drawing in the ideation process by adopting digital sculpture as the primary conceptual development and design tool for the digital sculpting of creature designs. Through a series of experimental research cycles, multiple frameworks were explored with the aim of identifying a methodology for creating '3D sculpted sketches' for the initial phases of the ideation process. This research project acknowledges that drawing still remains the predominant method of visualising design ideas for characters and creatures for many artists. However, alongside other ideation techniques digital sculpting can function as a rapid and responsive tool to visualize and explore forms in a digital sculpting environment for the conceptualisation of multiple creature design variations. The results of this study are significant for emerging digital sculptors who may not necessarily have a well-defined creative brief or initial concept.

STEM learning through engineering design: fourth-grade students' investigations in aerospace

Background: Internationally, there is a growing concern for developing STEM education to prepare students for a scientifically and technologically advanced society. Despite educational bodies lobbying for an increased focus on STEM, there is limited research on how engineering might be incorporated especially in the elementary school curriculum. A framework of five comprehensive core engineering design processes (problem scoping, idea generation, design and construction, design evaluation, redesign), adapted from the literature on design thinking in young children, served as a basis for the study. We report on a qualitative study of fourth-grade students’ developments in working an aerospace problem, which took place during the first year of a 3-year longitudinal study. Students applied design processes together with their mathematics and science knowledge to the design and redesign of a 3-D model plane. Results: The study shows that through an aerospace engineering problem, students could complete initial designs and redesigns of a model plane at varying levels of sophistication. Three levels of increasing sophistication in students’ sketches were identified in their designs and redesigns. The second level was the most prevalent involving drawings or templates of planes together with an indication of how to fold the materials as well as measurements linked to the plane’s construction. The third level incorporated written instructions and calculations. Students’ engagement with each of the framework’s design processes revealed problem scoping components in their initial designs and redesigns. Furthermore, students’ recommendations for improving their launching techniques revealed an ability to apply their mathematics knowledge in conjunction with their science learning on the forces of flight. Students’ addition of context was evident together with an awareness of constraints and a consideration of what was feasible in their design creation. Interestingly, students’ application of disciplinary knowledge occurred more frequently in the last two phases of the engineering framework (i.e., design evaluation and redesign), highlighting the need for students to reach these final phases to enable the science and mathematics ideas to emerge. Conclusions: The study supports research indicating young learners’ potential for early engineering. Students can engage in design and redesign processes, applying their STEM disciplinary knowledge in doing so. An appropriate balance is needed between teacher input of new concepts and students’ application of this learning in ways they choose. For example, scaffolding by the teacher about how to improve designs for increased detail could be included in subsequent experiences. Such input could enhance students’ application of STEM disciplinary knowledge in the redesign process. We offer our framework of design processes for younger learners as one way to approach early engineering education with respect to both the creation of rich problem experiences and the analysis of their learning.

Rockhampton's Resilient Future Design Charrette

The QUT Centre for Subtropical Design conducted a design-led interdisciplinary collaborative workshop (charrette) to develop some initial ideas for how innovation in research and practice can be applied to the complex problem of resilient future-focussed urban renewal in Rockhampton’s flood-prone suburbs and core grid. Three creative teams explored a range of scenarios for Rockhampton’s resilience in built form over the longer term. A large number of sketches, drawings and text were produced over two days. This report identifies themes, principles and strategies which emerged from the charrette. Each group proposed multiple guiding principles that fell into three strategic approaches: defend (through construction of a levee); adapt (by designing with flood in mind); retreat (a long term view to relocate populations in flood-prone areas). All three groups identified the importance of design that accommodates art, heritage, recreation, sustainability and tourism, and proposed these as principles to guide future strategies that mediate between Rockhampton’s broader ecological landscape and urban living to accommodate more affordable housing options, demonstrate sustainability and be climate responsive to predicted increased extreme weather events including flooding. The charrette outcomes pave the way to investigate wider issues and solutions to Rockhampton’s resilient future, beyond a levee as an isolated structure.

From mundane to smart: Exploring interactions with ‘smart' design objects

In addition to functional and technological features, the role of augmented objects should also be seen in terms of how effectively they fit into the everyday practices of users and how they enhance users' experiences. In this article, the authors introduce a low-tech, internet-of-things technology called CAM (Cooperative Artefact Memory) that is used as a collaborative tool in design studio environments. CAM works as an object memory technology and allows industrial and product designers to collaboratively store relevant information onto their physical design objects, such as sketches, collages, storyboards, and physical mock-ups in the form of messages, annotations and external web links. In the context of this study, CAM serves as an important probing device to understand designers' interaction and experiences with augmented design objects, in their natural environment. The authors carried out a small-scale field trial of CAM in an academic design studio, over three student design projects. In this article, they discuss the findings of their field trial and show how CAM was used by the participants, how it was integrated into the design process and how it was appropriated for different purposes. The authors also found that CAM supported coordination and awareness within the design teams, yet its serendipitous and asynchronous nature facilitated creative and playful interactions between team members. In general, the results show how CAM transformed mundane design objects into “smart” objects that made the creative and playful side of cooperative design visible.