Undergraduate Design Programs Research Articles

Students as Researchers, Collaborators, & End-users: Informing Campus Design

Students in undergraduate design programs often lack opportunity to conduct original research and apply their findings to project solutions. Consequently, they struggle with identifying and framing a design problem, understanding the importance of research-based design, and how to appropriately apply research findings to the needs and desires of project stakeholders. In interior design, this unawareness can lead to design solutions that appeal to the eye, but lack defensible rationale and often do not solve the design problem, or meet user needs. Exposure to research methods and collaborations with practitioners may change how students approach design problems by fostering an empathetic understanding of the human experience.This design case describes a project design at two universities where 72 sophomore and junior students collaborated with furniture manufacturer Herman Miller, Inc. to generate original research before applying their findings to the redesign of informal learning spaces in their campus libraries. Constructivist Learning and Backward Instructional Design, guided the design of the project. The result of this engagement, exposed students to research methods and research integration strategies, who outwardly demonstrated more confidence in making decisions during the design process. While the long-term implications from this type of engagement are not yet evident, encouraging students to ground their design ideas on evidence they have gathered, and their analysis of it, may not only shape their future decision making, but potentially lead to more appropriate client solutions and provide students with coveted job opportunities in positions where evidence-based design is highly valued.

Design methodology for the realization of zero-waste fashion design - Focused on the typology of ZWPM -

Zero-waste is sustainable development for ensuring continuous interactions with the environment as well as for the next generations, while expanding across industries. Zero-waste fashion design does not necessarily mean that we should stop making clothes in order to reduce waste, but we consider the social values of sustainability regarding the environment, humans, and profit. In particular, in the pre-use stage of zero-waste fashion design, fashion designers play critical roles. The purpose of this study is to develop a methodology for the realization of zero-waste fashion design through establishing the typology of zero-waste pattern making (ZWPM) as well as exploring the practical implications of zero-waste fashion design. For the realization of zero-waste fashion design that draws from pattern-making principals, this study categorizes zero-waste fashion design into zero-waste pattern cutting (ZWPC) and non-pattern cutting (NPC). ZWPC is based on drafting patterns on a piece of fabric, which can enable the sharing of patterns and processes, while NPC requires little- or non-cutting/sewing in optimizing a piece of fabric, bringing the possibility of creating indefinite forms. ZWPC is sub-categorized into tailored and non-tailored, and NCP into draped and folded. Then, by implementing the typology in undergraduate design programs, this study tests and completes the design methodology for the realization of zero-waste fashion design.

A survey of student opinions on ethical design standards in Taiwan.

Design ethics has been offered as a course in undergraduate design programs in Taiwan for over a decade, but research on teaching design ethics and the results of teaching these courses is scant. We conducted two tests to examine (1) the effect of an ethics course, and (2) the differences among the effects of design department, gender, and study year on student opinions regarding ethical design standards (EDSs) at the National Yunlin University of Science and Technology (YunTech) in Taiwan. The participants comprised 934 undergraduates (660 women and 274 men) from the five design departments at YunTech's College of Design from Years 1-4. The results confirmed the effect of an ethics course on student EDS opinions. In addition, we observed significant variations among students according to design departments, suggesting that the characteristics of the design departments also affected students' EDS opinions. The results indicated that gender did not significantly affect design students' EDS opinions; however, students in their early years of study produced higher scores than those in their advanced years of study did, based on the six EDS opinions. The implications of these results for teaching design ethics and future research are discussed in this paper.

Hybrid-learning for social design

Underlying causes of conflict, inequity, and injustice remain deeply entrenched in the lives of people ranging from impoverished villages to overpopulated megalopolises. To help address these complex issues, social design brings together designers from varying disciplines to address the needs of the community. While universities across the world recognize the need to introduce social design pedagogy into their curriculum, many programs remain confined within Western post-graduate education. In response, two multidisciplinary professors initiated a team-taught ‘Design for Social Change’ course in an undergraduate design program in Dubai, UAE. Open to students across disciplines, the course followed a hybrid-learning approach to planning, conducting, and evaluating learning activities. The methodology empowered students to determine their project interest, cooperatively build research, and value their diverse skills. This paper introduces the notion of hybrid-learning, collabor-active team-teaching in an interdisciplinary classroom, and applies the methodology to a social design course in the MENA region. This paper has been presented as part of the Tasmeem Exploration Platform during Tasmeem Conference, Doha, 2013.

Architectural theory in the undergraduate curriculum: a pedagogical alternative

The study of architectural theory remains absent from many undergraduate design programs, or, if present, the structure of many curricula place “theory” as an autonomous, peripheral course. Theory, however, as it is in other disciplines, is the foundation of the discipline of architecture. To regain the importance and vitality of architectural theory amidst an evolving and highly crowded set of courses, creative pedagogies are much needed. This article, therefore, discusses the development of a pedagogical alternative to traditional architectural theory courses. The course is conceived according to the concept of the dialectic and is a required part of the Bachelor of Architecture curriculum at a public university in the United States.