Technology selection in design education in an undergraduate course

This study suggests a Korean fashion design education model through a comparison of the fashion design curriculum and education systems in the USA, Europe, and Korea. For this, a case study of fashion design curriculum and education systems in the USA was performed with literature reviews about education methodology and design process to develop creativity, following the prior study, A Comparative Study on Fashion Design in Europe and Korea. For the case study, 12 superior fashion design education institutions in the USA were chosen from fashionista (N.Y.) and the goals, the emphases, the constitution of the online curriculum of each undergraduate fashion design course were examined. As a result of this study, Korean fashion design education model (1+2.5+0.5 model), was proposed by integrating the education systems of the USA and Europe, as follow: First, Korean fashion design education institutions need to be characterized and the departments/majors should be gradually specialized by the major. Second, foundation courses prior to undergraduate courses or during the 1st year should be established to result in a multi- disciplinary basic education. Third, a project based major needs to be performed that connects fashion design subjects with their related subjects for 2 and a half years as of the <TEX>$2^{nd}$</TEX> year. These projects can be progressed by problem-solving design process of problem-identification and brainstorming-research, analysis-design concept-design ideation, selection-design development, implementation-critical evaluation and solutions. Fourth, collaborative projects or integrated courses with related Liberal Arts or other art and design majors should lead to muliti-discilplinary education. Fifth, the chance of increased active industry-academy collaboration and actual employment or enterprise can be facilitated by the establishment of only the courses related to domestic or international internships during the <TEX>$2^{nd}$</TEX> semester of the <TEX>$4^{th}$</TEX> year.

Purpose Although the methods and approaches of sustainable design have been developing for more than 20 years, their application in design education and the design process is still under-examined. This study aims to investigate how to integrate sustainability into project-based undergraduate courses in industrial design education, where sustainability has recently been introduced into the curriculum. Design/methodology/approach Two workshops were carried out as pilot studies within two different elective courses. The scope of the study included sustainable design approaches at both the product and product-service system innovation levels. Findings The findings show that choosing between the two levels and the sustainable design approach is the most important challenge that students face during the design process. Moreover, the project brief influences the choice of the approach. Originality/value Following the findings, a sustainable design process model for the project-based undergraduate design courses was proposed. Finally, a new course curriculum on sustainable design was developed based on the findings from the study.

Supporting undergraduate education in hydrology is crucial to enhancing workforce development, research, and training necessary to advance the future of hydrologic science. Many professionals encounter the subject of hydrology in an undergraduate course that serves as an introduction to this discipline. However, there is limited synthesis regarding how educators design and teach introductory courses in hydrology. In this work, we analyzed 43 syllabi for undergraduate hydrology courses primarily from North America to identify how such approaches may vary and/or converge. We found that course titles varied widely, as do the use and titles of required or recommended textbooks. We also found variability in how instructors structured assessments, with 48% of syllabi reporting a distributed approach to grading rather than favoring a particular type of assessment. Instructors articulated 257 learning objectives spanning the range of Bloom's Taxonomy, as well as a small number of affective and skills‐based objectives. The majority of syllabi favored mid‐range objectives within Bloom's taxonomy (“understand” and “apply”), with fewer syllabi emphasizing objectives at lower (“remember”) and upper (“evaluate” and “create”) levels. In alignment with emphasis within the water cycle, most courses introduce key processes including precipitation, streamflow generation, groundwater, and evapotranspiration, but tended to diverge in whether they included topics such as climate change, human impacts on the water cycle, and water management. Overall, our synthesis provides a useful starting point for developing a common introductory curriculum in the field of hydrology, and considering what needs may still exist when first introducing undergraduate students to hydrologic science.

The article analyzes the results of the implementation of numerical methods of architectural form finding in educational design in the second year of study developed at the design department of KSUAE as part of the undergraduate course. The original method of form finding is a combination of tabular methods for setting the geometric parameters of architectural forms in Revit Architecture and visual programming tools such Grasshopper and Dynamo. This experiment in the field of “design of the architectural environment” (DAS) with extensive use of BIM-technologies and digital modeling in the educational process, has been conducted for more than 3 years and gives positive results, the main of which is the intensification of the educational process and the variability of complex geometric shapes based on the use of advanced numerical methods. According to this approach, the entire course consists of 4 stages, which students consistently perform during the second year of study, work on one architectural topic, which covers four coursework projects: “Composite design of an architectural form” (structural “skeleton”), “Design of an architectural facade” (“architectural skin”), “Design of the internal space “(interior), “Design of the external space” (exterior). They represent four parts of one general topic, each of which should demonstrate the influence of different subsystems of the structure on the overall volumetric and planning solution. In the process of work at each stage (course project), there is a constant resolution of the contradictions that arise during the design process between the various subsystems by regenerating the general architectural model as part of the Revit Architecture parametric modeling program, which plays an important role in the formation of students’ professional skills.

Tourism and cooperative education in UK undergraduate courses:: are the benefits being realised?

This paper investigates the idea that undergraduate design courses are predicated on project work framed by a design studio educational setting. To answer the research question, we followed an empirical approach supported by a grounded theory methodology: (1) we gathered 31 publicly available undergraduate design courses programmes and descriptions, (2) we followed the procedures of classic grounded theory to code the data, categorise any clusters that emerged, and finally identified any patterns or insights that emerged from the data. The results of this study support the notion that the design project is still the preferred pedagogical tool for undergraduate design courses; furthermore, the design project is also clearly associated with the design studio educational format. Moreover, the key design education concepts that emerged from our analysis are also evidently interrelated; this finding suggests that an underlying coherent design education theory crosses national boundaries and is familiar to any design course. Finally, the prevalence of learning by doing pedagogy supported by project work within the design studio context suggests that undergraduate design education may not fit distant education formats.

Gamification has been used as a tool to increase engagement with businesses, build group cohesion, and improve student motivation in Grades K-12. Part of its appeal is in developing autonomy in the “player,” and part of its appeal is in participating regularly in a structured progress ladder where the customer, student, or employee can predict how present actions can lead to future rewards. Currently, research in applying gamification to undergraduate courses is sparse, which is surprising given the overlap between higher education and game design; students and players both follow rules, participate voluntarily, engage with a feedback loop, and work toward a goal. This study applied game design principles via gamification to an undergraduate General Psychology course at a community college. Results indicate better motivation, improved exam scores, a stronger sense of autonomy, and a desire within students to have more courses offered in this manner. However, final course grades showed no significant difference compared with traditionally designed courses. Implications for future research are discussed.

Curriculum system is the core of talent training mode, and based on the nature and talents orientation of applied undergraduate education, it elaborates four aspects of applied undergraduate education in art and design, namely curriculum content, curriculum structure, curriculum propulsion mode and curriculum evaluation way, and clarifies its construction mode of curriculum system that is different from traditional undergraduate course teaching. And then in combination with student subject, enterprises industry and the requirement of social development, it points out the practical significance of dicussion and analysis on the curriculum system of applied undergraduate course teaching at the present stage, and it expands the theoretical and practical research space of applied undergraduate course teaching in art and design.

Artists and designers are positioned at the centre of the twenty‐first century creative economy. In order to recognise and make the most of the opportunities afforded by this new era, artists and designers still require the creativity, disciplinary depth of knowledge and technical skills traditionally possessed by professionals in these fields – skills which are a core strength of higher and further art and design education. However, they may also require a range of other, ‘twenty‐first century’ creative capabilities which are harder to define, teach for and assess, and are not the focus of traditional art and design pedagogies. This article draws upon the findings of nine in‐depth interviews with award‐winning Australian artists and designers about their careers and working practices, along with recent international research about the characteristics of the twenty‐first century creative career, in order to highlight the importance of certain professional capabilities for art and design. It discusses the implications of these findings for art and design educators in universities, and curricular and pedagogic considerations associated with embedding these capabilities into undergraduate courses.

This paper takes as a starting point the question of how an undergraduate curriculum in design should be organized. Through a systematic review of current literature about design education and proceeding from a pragmatist understanding of knowledge we show that a design curriculum could be supported by three main pillars that provide: (a) foundational skills; (b) knowledge through practice and active reflection; and (c) transdisciplinarity and business skills. This proposal is an initial sketch, it provides a well contextualized macro-structure that will serve as a steppingstone for the redesign of an undergraduate course in design. Educators, practitioners, and those interested in the evolution of design education should be interested in the discussion here presented, for the problem of how to train competent professionals in this area is more relevant than ever.

This testimonial article reflects on integrating Generative Artificial Intelligence (GenAI) into design education through three distinct experiences: personal explorations as a designer and educator, collaborative faculty learning in design technology, and integration within an undergraduate digital design course. This paper aims to contribute to discussions on how GenAI tools can support creative and educational practices. It employs a phenomenological approach to document these experiences, assessing the impact of AI on creativity, pedagogical practices, and learning outcomes. The theoretical framework draws on Constructivist Learning Theory, Kolb’s Experiential Learning Theory, Reflective Practice, Technological Pedagogical Content Knowledge (TPACK), and the concept of the democratization of creativity. These theoretical perspectives help to analyze how learners and educators construct knowledge through interaction with AI technologies, iterate through cycles of experimentation, and reflect on their practice. The analysis reveals the transformative role of GenAI in enhancing educational equity and creative engagement while also highlighting ethical considerations such as biases, intellectual property, and the risks of over-reliance. This paper invites educators to critically engage with AI, proposing strategies to integrate these technologies thoughtfully in design education.

At its heart, design is a studio-based discipline, which makes it difficult for design educators to adopt technology-driven changes into an online teaching and learning environment. Globally, few universities offer online undergraduate degree design courses, despite an overall growth in online higher degree curricula. Anecdotal evidence and limited research studies exploring the design educators’ view lament the potential loss of direct interactions between educator and design students in an online learning environment making it impossible to offer design education online. However, the attitude of design students towards online learning is largely underexplored. Given that today’s design students are considered tech-savvy, and there is a growing student demand for flexible study options, it would seem that design students would embrace online delivery options. The aim of this study is to explore the perception of undergraduate design students towards the idea of studying design online and whether or not blended learning could provide a transitional middle ground to a fully online design course. This study also touches on any student reservations about online delivery and identifies the barriers to study design online.

In this paper, a design and development of a Smart Cities general education (Gen Ed) online course for undergraduates have been presented. In this design, a detailed description of course contents, course modality, access to materials, and a typical assessment scheme have been presented, So far, this ENGR 202 (An Introduction to Smart Cities) course has been taught successfully to the University of Wisconsin (UW)-Green Bay, USA, students for the last two years every January and summer terms respectively with 3 weeks and 4 weeks in duration. Thus far, the course has been very successful in providing the students with an introduction to the smart cities and their functionalities. Experience learnt from teaching this course has been presented in this paper. The detailed design of this Gen Ed course has been presented in such a way that the same or a similar course could also be designed and taught at another academic institution as a Gen Ed course. Finally, this course also stands as an example that an engineering course can successfully contribute to the Gen Ed course pool of an institution reducing the historical gap between engineering and Gen Ed curricula moving forward.

One of the most frequent problems with using maker technologies, especially for students, is the selection of technology during the prototyping stage. Few studies have focused on the variables that influence students' choice of technology when learning about interactive prototyping. This study examines the variables influencing students' technology choices when constructing interactive prototypes. We performed a study based on interviews with undergraduate students involved in using technologies to prototype interactivities at a design school. We analyzed the students’ artifacts and discussions using the grounded theory framework. The electrical and communication properties of the components, along with the socio-technical environment in which the students are learning, are important aspects when choosing components. Our findings provide educational practitioners with significant information and clarify the necessity of more research and the redesign of electronic boards and components.

İD İD İDBu çal›flma, bir Bilgisayar ve Ö¤retim Teknolojileri E¤itimi (BÖTE) lisans program›n›n ö¤rencilerin farkl› mesleklere yönelik yeterliklerine katk›s›n›n incelenmesi amac›yla gerçeklefltirilmifltir