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This paper begins with an overview of the debate between the ideas of 'art' and 'industry' in design education, and the relationship of this debate to liberal and vocational pedagogic approaches in the education of designers. These debates are investigated with supporting examples drawn from tertiary level design education assessment conversations (known as critiques, or 'crits') using techniques drawn from Conversation Analysis. The analysis reveals how expectations and perceptions of design activity are articulated and reproduced within design and design education.In addition, the role of interaction in design education is briefly considered in relationship to ethical issues in design and design education. Abstract JADE 19.1

In this paper we show how stories and categories help to frame and express values in a car accessory design process. We consider how a group of designers plan two co-creation workshops through categorising participants in ways that impact upon the subsequent process of design. We then describe how two stories emerge during the design process, additionally structuring design discussion through linking 'past particulars' -experiences and behaviours that the co-creation process reveals -with 'imagined particulars' -stories that place specific actors, objects and relations into an imagined context. We propose a key function of stories within this collaborative design process as holding value tension, allowing contrasting values to coexist together. Highlights• The role of stories in framing collaborative design practice • The management of contrasting categories and values through discourse • How stories represent 'value tension' in design processes • The performance of design as the negotiation of value tension

This paper explores how the roles or social categories 'architect' and 'client' are performed by participants as they meet to talk about the design of a crematorium. The analytic framework through which the interaction is studied is Membership Categorisation Analysis (MCA). By attending to the participants' talk through the perspectives of MCA, we can see how questions and answers, attributions of building ownership, and assessments of the building are enacted in ways that enable the participants to competently perform as 'architect' and 'client'. Thus, as well as the participants' interaction helping to shape the actual form of the building, it also helps to shape and perpetuate ideas concerning what it is to 'do' architecture.

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