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There is increasing emphasis on co-production and co-design of healthcare, for example the co-design of resources to support people with stroke in selfmanagement. Limited accessibility of materials for people with aphasia (difficulty producing and/or understanding language) is a topical issue. In this paper we describe our experiences of working with people with stroke and rehabilitation professionals to co-design a resource (book) for stroke selfmanagement support, incorporating accessibility for people with aphasia. In the highly medicalised field of stroke care, rigour is mainly informed by biomedical experimental research paradigms. Interpretations of value are often grounded in assumptions of biological and social norm. In contrast, our work was guided by 'designerly' conceptualizations of rigour and value. We considered design 'things' (objects/artefacts) versus 'Things' (a forum for people to come together); the book as a boundary object; reciprocity throughout the co-design process; and a pragmatic premise of participatory design. Stroke survivors gifted their stories and experiences to fill the pages of the book. In reflecting on our work, we have made transparent how we 'do' co-design. We have demonstrated rigour through local accountability. There is value in the book's ability to connect people with stroke and support an encouraging and empowering self-management dialogue.

This paper examines student learning in the Master of Arts in Sustainable Design course at Kingston School of Art, Kingston University London. It considers what designers learn, how they learn and where they learn, in a postgraduate course that seeks to enable them to direct their practice towards sustainability by increasing their sustainability literacy. The paper reviews the learning experiences of students, and the curriculum structures and approaches used to serve those experiences. The story of the course is told here by the course leader of ten years, using student outputs to illustrate the argument made for a sustainable design pedagogy. The key principles of this pedagogy are (1) sustainability is a social, not just an environmental, agenda; (2) sustainability presents us with ‘wicked problems’, which have no right or wrong answers; (3) sustainability-directed design practice arises from the sustainability literacy of the designer; (4) sustainability derives from mindsets and worldviews, not just methods and materials; and (5) sustainability is an emergent property of systems, not a quality of products. This combination has generated a distinctive model of postgraduate sustainable design education, which seeks to equip students with a ‘mastery’ of how to put into practice their own visions of sustainable design.

In October 2015, students from Kingston University, London designed and delivered 'Climate Customs', an open pop-up studio during London's Inside Out festival. Conceived and developed in association with Helen Storey Foundation, the studio aimed to test ways of capturing public responses to climate change and sustainability. Tasked with developing methods of public engagement, students devised a journey of participation to highlight the global implications of climate change-how it is likely to affect each and every one of us, albeit in different ways and at different rates in different parts of the world. Drawing on the results and outputs from the pop-up studio-including visitor, student, project initiator, and tutor perspectives-our paper considers questions of design for sustainability, design for engagement, and studio culture. It presents and reflects on the format and programme that the students devised, and considers implications of incorporating such approaches into wider design teaching practice.

This article presents discussion of art and design education in interviews conducted with 31 UK design stakeholders. To provide a coherent path through the data, quotes from interviewees are presented under the following themes: Choosing art and design; A natural talent for designing?; Developing the designer; Personal development. The author suggests that the views presented here relate to larger debates currently taking place in the field of art and design education. A particular thread running through the discussion is the intensely personal relationship that those following an art and design path have with their subject. This level of personal investment makes art and design more than just another educational or career option. Art and design education must therefore continue to develop pedagogical models which respond to the need for individual learning based on a development of personal creativity. Abstract JADE 24.1