Hi Susan,
Your two questions are extremely relevant to my work here in Riyadh. As a design researcher, specifically design for e-learning experiences, I found it best to be able set precedents/examples for how local culture could be integrated with westernized design aspects and theories. It would be safe to expect that the students have no prior experiences in similar integration for them to fall back on.
I always relay on Andalusian history as a source for integration narratives. In my opinion it's visually rich, relevant, and brings a since bride and connection (those are big motivators).
That being said, understanding what culture mean to the locals, its value and priorities would definitely assist in approaching such integrations. Feel free to check out my dissertation on culture and design for online learning.
Abdullah A. Altuwaijri Ph.D, MA
Technical and Vocational Training Corporation, Riyadh
Sent from a rotary phone
> On Feb 21, 2017, at 11:05 AM, Susan Hagan <[log in to unmask]> wrote:
>
> Hi Everyone,
>
> Here's my two-pronged question. For quick reading, look for the indented, numbered, bold sections (hope that this carries across platforms):
>
> 1. How do you explore or encourage cultural variation in your research or teaching? I’m especially interested in the Middle East and Southern Asia, with a focus on Communication Design.
>
> I teach at Carnegie Mellon Univ. in Qatar—bound to its Western influences. Recently, Don Norman opened my eyes to an opportunity that I’d overlooked.
>
> While I’m immersed (as one can be) in a cultural shift, I had not yet encouraged my students to invite their own cultures into the design space. I see that now as a huge oversight on my part.
>
> This semester, I’m teaching Document Design, focused on visual/verbal argument within the grid. For the first time, I included a prompt to incorporate an aspect of student cultural experience into the design in order to show that this redesigned grid reflected place as well as purpose. First steps have just begun to explore the pyramid as a grid element, variations of sand as a color theme, and Arabic letterforms as both the forms themselves and an effect on the underlying structure. But this only scratches the surface, which leads to a more specific question.
>
> 2. I would be intrigued to learn how others are exploring the educational space.
> Whose work do you admire and show to your students?
> How do you approach prompts for student projects?
> What differences do you notice between Western, Middle Eastern, and South Asian design?
>
> Thank you for any perspectives,
>
> Susan
>
>
> Susan M. Hagan Ph.D., MDes | Carnegie Mellon University in Qatar
>
>
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