scholarly journals CLaS light touch project: scaling up educational co-design process

Author(s):  
Dewa Wardak ◽  
Sandris Zeivots ◽  
Andrew Cram
2013 ◽  
Author(s):  
Lori B. Stone ◽  
Abigail Lundquist ◽  
Stefan Ganchev ◽  
Nora Ladjahasan

Author(s):  
Catarina LELIS

The brand is a powerful representational and identification-led asset that can be used to engage staff in creative, sustainable and developmental activities. Being a brand the result of, foremost, a design exercise, it is fair to suppose that it can be a relevant resource for the advancement of design literacy within organisational contexts. The main objective of this paper was to test and validate an interaction structure for an informed co-design process on visual brand artefacts. To carry on the empirical study, a university was chosen as case study as these contexts are generally rich in employee diversity. A non-functional prototype was designed, and walkthroughs were performed in five focus groups held with staff. The latter evidenced a need/wish to engage with basic design principles and high willingness to participate in the creation of brand design artefacts, mostly with the purposeof increasing its consistent use and innovate in its representation possibilities, whilst augmenting the brand’s socially responsible values.


Author(s):  
Camilo POTOCNJAK-OXMAN

Stir was a crowd-voted grants platform aimed at supporting creative youth in the early stages of an entrepreneurial journey. Developed through an in-depth, collaborative design process, between 2015 and 2018 it received close to two hundred projects and distributed over fifty grants to emerging creatives and became one of the most impactful programs aimed at increasing entrepreneurial activity in Canberra, Australia. The following case study will provide an overview of the methodology and process used by the design team in conceiving and developing this platform, highlighting how the community’s interests and competencies were embedded in the project itself. The case provides insights for people leading collaborative design processes, with specific emphasis on some of the characteristics on programs targeting creative youth


Author(s):  
Andrea CAPRA ◽  
Ana BERGER ◽  
Daniela SZABLUK ◽  
Manuela OLIVEIRA

An accurate understanding of users' needs is essential for the development of innovative products. This article presents an exploratory method of user centered research in the context of the design process of technological products, conceived from the demands of a large information technology company. The method is oriented - but not restricted - to the initial stages of the product development process, and uses low-resolution prototypes and simulations of interactions, allowing users to imagine themselves in a future context through fictitious environments and scenarios in the ambit of ideation. The method is effective in identifying the requirements of the experience related to the product’s usage and allows rapid iteration on existing assumptions and greater exploration of design concepts that emerge throughout the investigation.


Author(s):  
Bryan Howell ◽  
Curt Anderson ◽  
Nile Hatch ◽  
Chia-Chi TENG; ◽  
Neal Bangerter ◽  
...  

Over that last few decades there has been a significant rise in interest for design-led entrepreneurship and innovation. This has brought about the need to expand on the principles and methods of human-centred design by incorporating knowledge from multiple disciplines, such as management, business, and entrepreneurship studies. This expansion aids designers, engineers, and marketing practitioners who strive to create innovative, meaningful and relevant services, business models and experiences. More often than not, ventures operate under very limited resources, and practitioners are often required to fulfil several roles. The concept of ‘multidisciplinary teams’ widely spread in this sphere often bears little resonance in these contexts. Designers possess valuable competencies that can have a significant impact on the venture, especially driving user and context-centred strategy and processes for the introduction, legitimization and scaling-up stages. However, engaging with these areas of practice requires skills and capacities that overlap traditional disciplinary roles. In doing so, the boundaries between design and engineering, branding and communications, cultural and behavioural insight, marketing and management strategy are blurred. As educators in design innovation, how do we explore, define and balance interdisciplinary relationships between design, engineering, management, business and entrepreneurship theories, methods, language and models of education? The purpose of the entrepreneurship in design education track is to discuss methods, models, case studies, research, insights and unexpected knowledge in benefits and limitations of design entrepreneurship education. In particular, the three papers presented in this track demonstrate different approaches to entrepreneurship and design education.


Author(s):  
Silas DENZ ◽  
Wouter EGGINK

Conventional design practices regard gender as a given precondition defined by femininity and masculinity. To shift these strategies to include non-heteronormative or queer users, queer theory served as a source of inspiration as well as user sensitive design techniques. As a result, a co-design workshop was developed and executed. Participants supported claims that gender scripts in designed artefacts uphold gender norms. The practice did not specify a definition of a queer design style. However, the co-design practice opened up the design process to non-normative gender scripts by unmasking binary gender dichotomies in industrial design.


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