It's a Nice Idea, but it's not actually Real: Assessing the Objects and Activities of Design

Oak, Arlene

doi:10.1111/1468-5949.00205

Cited by 34 publications

(29 citation statements)

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“…Sacks (1999); Heylighten & Neuckermans (1999); Uluoglu (2000); Oak (2000)) examines resource-intensive studio experiences in which students' individual progression during a project is served by frequent, intensive, personal attention from a studio master. For example, Goldschmidt, Hochman and Dafni characterize the studio experience in architecture as typically, 'meeting two or three times a week for a number of hours, during which students present and discuss their work in progress with their teachers and sometimes also with classmates and guests ' (2010: p. 285).…”

Section: Approach To Interpretationmentioning

confidence: 99%

Scaffolding practices: A study of design practitioner engagement in design education

McDonnell

2016

Design Studies

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Abstract:The paper presents a study of tutor-student design reviews that form part of formal Industrial Design education. It is motivated by interests in how design expertise is acquired through experiences of designing and how novice designers are assisted to develop their own positions as designers. It explores the ways a professional designer tutor directs, guides and encourages students' engagement with a design task, and presents them with opportunities to develop their own design values, preferences, and design sensibilities. It uses the empirical data to draw attention to how the potential of design proposals as rhetorical instruments to serve both designers 'own thinking and the presentation of their designs to others is a prominent theme in the professional designer tutor's engagement.Keywords: design education; design practice; design activity; reasoning; designer formation Scaffolding practices: A study of design practitioner engagement in design education Abstract: The paper presents a study of tutor-student design reviews that form part of formal Industrial Design education. It is motivated by interests in how design expertise is acquired through experiences of designing and how novice designers are assisted to develop their own positions as designers. It explores the ways a professional designer tutor directs, guides and encourages students' engagement with a design task, and presents them with opportunities to develop their own design values, preferences, and design sensibilities. It uses the empirical data to draw attention to how the potential of design proposals as rhetorical instruments to serve both designers 'own thinking and the presentation of their designs to others is a prominent theme in the professional designer tutor's engagement.Keywords: design education; design practice; design activity; reasoning; designer formation Professional designers have to contend with the complex and unpredictable problems of practice.Although design professions are not unique in this respect, designers' practices, the strategies they learn, and the ways in which they acquire competence are fundamentally influenced by the nature of design tasks. In essence, 'any design process can unfold in an infinite number of directions … first judgments in conjunction with a systematic assessment of the design situation codetermine the stance of the designer in relationship to that which is being designed' (Nelson & Stolterman, 2012: p.245). The central role of judgment not only positions the designer as the one who shapes the design through the way s/he frames the task, but also implies a necessary awareness that choices have been made and that they have consequences. These relations between designers, designs, and design justification, in turn, have consequences for how design skills are acquired. In the context designer formation, Donald Schön's 'Educating the Reflective Practitioner' (1987) presents extensive explication of the case for why experiences of designing, through the 'studio', or through project work, ...

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Section: Approach To Interpretationmentioning

confidence: 99%

Scaffolding practices: A study of design practitioner engagement in design education

McDonnell

2016

Design Studies

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“…For example, employing an inductive analysis of critics' language, Dannels and Martin describe a typology of nine types of feedback and suggest that these feedback types differ (some more egalitarian, others more instructive) based on the level of the studio and the preprofessional goals that accompany each level. Oak (2000) also suggests that feedback occurring in the critique reflects tensions between instructors' and students' assumptions of design and design education*recognizing that the explicit and implicit language within feedback teaches students about professional expectations. Finally, many researchers suggest the important role feedback plays in the construction of particular communicative climates during the critique (e.g., Anthony, 1991;.…”

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confidence: 99%

Students' Talk about the Climate of Feedback Interventions in the Critique

Dannels¹,

Gaffney²,

Kelly³

2011

Communication Education

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Similar to many courses in communication, oral communication is central to the learning goals in the discipline of design. Design critiques, the primary communication activity in design classrooms, occur in every studio course multiple times. One key feature of the critique, as an oral genre, is the amount of time and emphasis placed on feedback. The feedback intervention process within the critique plays a large role in determining the overall communicative climate of the teaching and learning event. The purpose of this study was to explore how students talk about the communication climate of the critique and the feedback within it. Drawing on feedback intervention theory and using an ethnographic interviewing framework, we conducted in-depth interviews of students in design studios. Results of this study identified four ways students characterized the critique climate and six kinds of feedback students suggested contribute to a climate for learning. Discussion suggests that feedback intervention spaces (specifically those focused on oral genres) are dialectical and relational spaces*necessitating attention not only to the cognitive processes of feedback (as feedback intervention theory suggests), but also to the emergent relational tensions that demand communicative energy within the feedback intervention process.

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“…In this context, critiques were central spaces that served as a rite of passage into the culture*/or tribe, if you will*/of ''designers.'' These results add to Oak's (2000) analysis of the critique*/suggesting that the critique is not only a place where students could be socialized into the expectations of the professional design context (Oak, 2000) but also a place where students could be socialized into the norms, values, and culture of that context. Second, as rites of passage, these oral genres were conceptualized as dialogic and performative.…”

Section: Discussion and Implications For Future Researchmentioning

confidence: 66%

“…For example, Morton and O'Brien (2005) empirically illustrate how a genre-based approach to cross-curricular work results in complex discipline-specific understandings of the linguistic and rhetorical features of effective critiques. Additionally, Oak (2000) illustrates how talk occurring in the critique reflects tensions between the instructor's and student's assumptions of design and design education. She suggests that the explicit and implicit language of the crit helps to shape the students as, through talking and hearing talk about their objects, the students learn what to expect of design and what is expected of them if they are to become professional designers.…”

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confidence: 99%

Performing Tribal Rituals: A Genre Analysis of “Crits” in Design Studios

Dannels¹

2005

Communication Education

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Grounded in a communication in the disciplines (CID) theoretical framework, this study was the first phase of a multiphased project exploring oral genres in the academic discipline of design. The purpose of this study was to provide a baseline understanding of how faculty perceive and assign meaning to the oral genres that students performed in their studios. Through qualitative observation and ethnographic interviewing over a year-long period, I explored the types of oral genres in design education, their distinguishing features, skills faculty ascribe to success for these genres, and the role of oral genres in the social communities and practices of design studios. Results illustrate four distinct oral genres in this context*/specifically defined by the prominence of visual and spatial elements and audience feedback*/within which specific skills mark success. Results also suggest oral genres function as ritualistic performances*/a metaphor that illustrates the social, situated, and rhetorical role of oral genres in this context. Ultimately, this study provides an empirically grounded foundation for communication across the curriculum practitioners and makes important theoretical contributions by suggesting a complex connection between orality and the academic discipline of design.The foyer of the College of Design is a large, rotunda shaped area. There are wires strung from one wall to the next, and metal structures hang from those wires. On the wall that faces the entrance way, there is a computer image of a threedimensional oval shaped graphic simulation being projected onto a transparent wall that leads into a set of offices. Moving out of the foyer and into the hallways,

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It's a Nice Idea, but it's not actually Real: Assessing the Objects and Activities of Design

Cited by 34 publications

References 0 publications

Scaffolding practices: A study of design practitioner engagement in design education

Scaffolding practices: A study of design practitioner engagement in design education

Students' Talk about the Climate of Feedback Interventions in the Critique

Performing Tribal Rituals: A Genre Analysis of “Crits” in Design Studios

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