A Conceptual Framework for Integrating Inclusive Design into Design Education

Author(s):  
Ting Zhang ◽  
Guoying Lu ◽  
Yiyun Wu
Author(s):  
Nicky Wilson ◽  
Avril Thomson ◽  
Angus Thomson ◽  
Alexander Freddie Holliman

AbstractThere is a need for responsible engineering design to accommodate the diverse user requirements that come with the global phenomenon of population ageing. Inclusive design can address these diverse requirements through the consideration of a wide diversity of user needs within the design process. However, uptake of inclusive design in industry is limited, with designer awareness of the approach and its associated methods and tools noted as barriers to its uptake. This research aims to understand the current approach to inclusive design education within UK Higher Education Institutions, utilising interviews with design educators and a student survey. The study concluded that teaching of inclusive design varied between institutions with conflicting responses from academics and students relating to the methodologies taught. This study recommends that greater transparency should be encouraged between institutions to encourage the development of a cohesive inclusive design education strategy, in addition to the development of a framework to aid the implementation of appropriate inclusive methods and tools within the design process.


2021 ◽  
Vol 9 (1) ◽  
pp. 279-293
Author(s):  
Tiona Camille Martin-Thomsen ◽  
Gaia Scagnetti ◽  
Siobhan R. McPhee ◽  
Ashley B. Akenson ◽  
Dana Hagerman

Critique can be defined as disciplinary feedback, analysis, or assessment provided to an individual or within a group, be it a classroom or a team. At a fundamental level, it is an exchange of ideas, impressions, evaluations, opinions, reflections, judgments, speculations, or suggestions to oneself or between two or more participants in a defined context. Scholars describe critique as a signature pedagogy in many disciplines, a cornerstone of the educational experience. There has been scant critical analysis of how critique also represents a performance of power with roots in positions of authority, expertise, or assigned roles. Such power dynamics have been explored in some areas within SoTL, for example in scholarship on assessment, epistemic disobedience, social justice, feminist pedagogies, and critical race theory. However, this has generally not been the case within the scholarship on critique. To better understand the dimensions of power in the context of critique we developed a conceptual framework that can be applied at the individual level (teacher to student, student to student) as well as the systemic level (critique as a construct of cultural hegemony in a specific episteme). Drawing from theoretical and pedagogical literature in areas such as cultural studies, whiteness studies, design education, and assessment, the conceptual framework defines power in three main expressions: power as inequity, power as authority, and power as cultural hegemony. The framework can be used to identify and define power within the critique context and to also inform reflection and shift perspectives at various academic levels.


2015 ◽  
Vol 40 (2) ◽  
pp. 88-95
Author(s):  
Hülya Turgut ◽  
Emel Cantürk

Although the design studio has formally been the locus for design education, informal education approach has gained more and more acceptance in the world. Informal education, which is the education outside the confines of curricula, includes the acquisition of knowledge and skills through experience, reading, social contact, etc. Workshops cover the essential weight of this informal education. Although the role of the design workshops in architectural design education has been very limited through overall design education’s past, many schools of architecture have taken steps to consider workshops as the part of informal learning and education. “Culture and Space in the Build environment” (CSBE) Network of IAPS have been organizing “culture and design workshop series” for graduate and post graduate students in Turkey since 2001. In these workshops, a design teaching approach based on the conceptual framework of culture and space interactions is applied. The conceptual framework developed for the architectural design education, takes three fundamental starting points for workshops as the part of informal design education: as a tool for informal design education (method), as a tool for learning & understanding culture-environment relations (content), and as a tool for awareness of different environments/contexts (scale/place). The foundation of the conceptual framework is based on the general approach that discusses the “architectural design process” with regards to environmental context and content. Within this context the aim of the paper is to discuss and evaluate the importance and the contribution of workshops as tool for informal architectural design education. These discussions will be held on the case of IAPS-CBSE Network’s last workshop “Istanbul as a Palimpsest City and Imperfection”. In the paper, the process, the method, the content and the results of workshop studies will be discussed and evaluated.


2020 ◽  
Vol 4 (3) ◽  
pp. 11-29
Author(s):  
Huseyin Ozdemir ◽  
Gokce Ketizmen Onal ◽  
Aysen Celen Ozturk

Informal education contributes to the development of the student's design skills and the performance of architecture education by addressing subjects that do not fall directly into the curriculum. This study is mainly about the development of students' design thinking skills in informal education. In order to make an assessment, a case study was conducted on the Bademlik Design Festival (BTF), which can be described as an important example in the field of informal education. By adhering to the method, surveys were applied to the instructors and students participating in the BTF. The concepts obtained according to the survey results are based on a detailed conceptual framework. Then, by interpreting this conceptual framework, students' learning outcomes are revealed. As a result, it is observed that the students in the workshops conducted at the BTF gain design thinking skills such as “interaction, free and original thinking, innovation, communication and dialogue”.


2016 ◽  
Vol 20 (11) ◽  
pp. 1123-1141 ◽  
Author(s):  
Burçak Altay ◽  
Gülnur Ballice ◽  
Ebru Bengisu ◽  
Sevinç Alkan-Korkmaz ◽  
Eda Paykoç

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