Dear all, and particularly Fernando and Ederson,
It is good to see two topics about design education in close succession. I
wish I could make a better contribution, but between tending to my newborn
son and revising the manuscript of my thesis, the few bits of free time
(ah!) I have are spent either struggling to maintain a modicum of sanity or
sleeping. Mostly sleeping.
Nevertheless, since the topic of my PhD is design education I will try to
add my two cents.
I think design education has a sufficiently rich history to be studied in
its own terms. The traditional model of teaching and learning how to design
is the design studio (sometimes known as ‘project’). This system of
education was developed in architecture schools and has roots in the
renaissance academies as well as in the model to educate craftsmen
established in the medieval guilds in Europe.
The nature of learning how to design is fundamentally practical and
crucially dialogical. The teacher-student one on one dialogue anchored on
an ongoing design project is the format by which the best conditions to
learn how to design are established (both Piaget and Vygotsky’s
constructivist explanations of how people learn are useful to understand
this dynamic. But by no means exclusive). Designing has to be experienced
personally and discussed with others.
The term ‘design studio’ describes both a physical space where teaching and
learning occur and an educational paradigm. Often described as a form of
‘learning-by-doing’ the setting can be summarized in the following manner:
in the studio, students learn how to design by practicing designing while
being tutored by a design teacher.
The teacher-student dialogue has defining features that should be taken
into account when trying to understand the process of learning how to
design, namely: the dialogue is conducted using a particular kind of
language which Schön termed ‘language of designing’; the dialogue is
mediated by visual design representations (more often than not sketches);
the dialogue varies along the following axis: informal-formal,
formative-evaluative, and private-public. Variations of these conditions
alter the dynamic, content, and result of the dialogue, and consequently of
the educational process.
I’m preparing a series of papers that expand on these issues. Hopefully,
they’ll contribute to the ongoing discussion.
I’m sorry for the lack of references in this post. Some of the authors that
support my thesis are: Donald Schön (of course), Gabriella Goldschmidt (GG
has published a fantastic series of papers on the role of sketching and a
few focused precisely on teacher-student interaction, I wholeheartedly
recommend her work) Sarah Dinham (a pioneer in the study of the design
studio).
These are my clumsy two cents.
Good luck Fernando Mendes and Ederson Locatelli in your research!
'best,
On Thu, Mar 16, 2017 at 4:17 AM, Keith Russell <
[log in to unmask]> wrote:
> Dear Don,
>
> Great fun.
>
> Don¹t be a follower, unless you are Steve Jobs and want to make billions?
>
> And
>
> Most people are not problem setters; most can be problem solvers, of a
> kind.
>
> Some can do both.
>
> cheers
>
>
> On 16/3/17, 3:31 am, "PhD-Design - This list is for discussion of PhD
> studies and related research in Design on behalf of Don Norman"
> <[log in to unmask] on behalf of [log in to unmask]> wrote:
>
> >Don't be a follower. Followers simply trample the grass and provide no
> >useful new insights.
> >
> >
> >Don Norman
>
>
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--
*João Ferreira*
00351 967089437
0031 0619808750
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