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• W97478323 abstract "This paper looks at how experienced design teachers use the Web in teaching students in studio environment in the Bauhaus tradition. It develops a framework for understanding possible functions of the Web over the design process, and examines Web use practices in one of Europe’s largest design programs, situated in Helsinki. In the absence of department policy, instructors have developed various ways to integrate the Web to teaching. In particular, the Web is used at the more industrial end of education, reflecting changes in design over the last few decades. 1. FROM STUDIO TO THE WEB Teaching designers at universities largely takes its cue from traditional crafts enriched with a dash of art following principles crystallized in Bauhaus. Essential to teaching is that it takes place in the studio rather than the classroom (Blashki 2002; Hummels & Frens 2008). This paper is a case study of how designers have integrated the Web to teaching in one of Europe’s largest design programs. With the exception of classes in philosophy, art history, and computer science, in which learning is based on models stemming from the mother disciplines, in such traditional design disciplines as ceramics and furniture design, knowledge is transmitted from one generation to the next mostly using a traditional master-apprentice model. A typical design class begins with an intensive classroom period, and continues through concept design to prototyping, which is done in studios. Throughout, crucial to the success to this creative, constructivist, and multi-sensorial process is a close connection between teachers and students. However, even though the basis of design education has not changed much over the last 70 years, globalizing economy and changes in student population have brought about a few changes. In particular, design education stresses multidisciplinary teamwork, multiculturalism, new technology, and research. Most design tasks today are “wicked” (Rittel and Webber 1984) and require a multidisciplinary team. Multiculturalism is based on two trends: the increasingly global nature of academic teaching, and to the fact that globalizing economy requires people who are able to negotiate their way through multiple cultures. Designers have been in the forefront in adapting new technologies to their work, and new working methods such as user studies and system analysis are a routine part of design (see Valtonen 2007). For many reasons, then, intensive communication is at the heart of the educational process. It is necessary for success in masterapprentice relationship, but also in today’s complex teamwork processes. Obviously, it is also at the heart of many other processes, including the key process of socialization into the design profession, reflection (Schon 1983), and the creation of dialogue necessary for creating and maintaining a community of practice (Lave and Wenger 1991; Fischer et al. 2007; Stahl & Hesse 2006). On one hand, design education has many “affordances” – like communication – that favor adopting the Web; on the other, it has many affordances – like multisensoriality – that work against the Web (for affordances in design, see Norman 1998). How, then, is the Web integrated to this environment? This paper analyzes design education in one of Europe’s leading design schools, and looks at how the Web is actually used in the classroom to support education. Specifically, it probes two questions: (1) how experienced design teachers use the Web in their work; and (2) what explains these variations. However, this paper focuses on traditional designers, who build chairs, spaces, products, and interactive systems, not media designers or software engineers. This paper focuses on designers trained in art rather than technology. 2 INTEGRATING THE WEB INTO DESIGN PROCESSES Despite changes described above, design pedagogy still largely follows traditional masterapprenticeship model. In preparing for classes, teachers typically construct the design task often with companies, organize funding, materials, find and schedule expert lecturers, book studio and machine time, and organize access to possible equipment outside university studios from universities’ outside networks. From the student standpoint, a typical design class starts with an introduction, which consists of lectures, readings, and other knowledge content that guide students to the topic of the class (i.e. issues like sustainability or banking services). This phase typically takes place in the classroom. This phase is followed by the design phase, which consists of: • Concept design: students create concepts, often through a user-centered process. This typically takes place in meeting rooms and open spaces with a lot of wall space that becomes a knowledge environment (Nugent et al. 2008). • Studio phase: often called prototyping, the focus is next on constructing the ideas. This typically takes place in studios and workshops. • Presentations. During the class, there are gates for feedback, and at the end of the class is critique. Students typically prepare presentations of their work and rehearse pitching their ideas in front of the teachers, fellow students, and sometimes also experts who come from the outside. After the class, disseminating design work usually borrows its methods from art and industry rather than science. Thus, its main “centers of coordination” (Latour 1990) are not only articles and books, but also exhibitions and expos. With fashion schools leading the trend, design work is increasingly exhibited on the Web (see fashion shows of Central St. Martin’s, London at http://www.csm.arts.ac.uk/37495.htm). Given this background, the Web may have several functions in design classes, if integrated to the process. At the heart is the design process, which provides for the structuring of Web use. • Knowledge content. Most design classes inject knowledge that has its origins outside the design world. This knowledge can be communicated early on in the process, but also later using the Web. • Teamwork. More often than not, design requires teamwork. The Web can assist in communication beyond just e-mail. • Design work. Web tool may be used to support design work provided that it supports design methods that are typically visual and tangible, requiring a multimedia-based rather than a textual-only environment. (See Dreyfus 2001). • Reflection. Modern pedagogy sets a separate set of requirements. The aim of design education is to raise professionals capable of analyzing problems and solving them in a reflective dialogue with materials, equipment, mentors, and customers. To these ends, design classes typically utilize tools that encourage dialogue and reflection, including blog and studio diaries (see Enyedy and Hoadley 2008; for example, see Tisch School of the Arts at NYU at http://itp.nyu.edu/itp/). • Communication. Finally, for any design work to have any impact, it has to be communicated to outsiders, which sets another set of requirements for using the Web. Typically, designers prepare interactive multimedia presentations and videos to communicate their work. Combining the process and these functions of the Web gives the following framework for integrating the Web into teaching. (Table 1). Table 1. Framework: The Web in Design Education, Phase" @default.
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• W97478323 date "2009-01-01" @default.
• W97478323 modified "2023-09-25" @default.
• W97478323 title "HOW DESIGNERS USE THE WEB IN TEACHING - A Case Study" @default.
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