The demand for teaching and learning collaborative design is probably greater than ever thanks to many influential parties highlighting creativity, collaboration and designing as necessary future ...skills. However, ‘good’ collaborative design necessitates a clear understanding of what constitutes ‘good’ and ‘collaboration’, and of how an individual’s activities contribute to a team achieving a satisfactory design solution. This research aimed to develop a methodological approach to facilitate the analysis of collaborative interaction and design as equally meaningful and closely linked components, and to equally account for verbal and sketching activities. The developed extended linkography accounts for verbal and sketched design moves and utilises mobile gaze-tracker data to confirm visual attention and linkages between sketches. The method has potential importance for research on design cognition and collaboration, but also for analysing collaborative problem solving in other contexts. To illustrate the method, a case study of packaging design students collaboratively designing a sustainable Christmas basket is presented. The gaze data revealed that students’ collaborative engagement with ‘shared’ sketches differed: from the two proposals selected for 3D mock-up-building, one was developed concertedly and one as an aside of the shared process. The latter development appeared to be independent, seeking little input from team members. All in all, three qualitatively different interactive design processes were identified, and quantitative levels of collaboration were measured through Convergent and Divergent Collaboration Indexes. To determine the role of sketches for each of the students’ designing, gaze data was indispensable.
Co-teaching is regularly paired with school improvements and educational reforms, yet research does not clearly separate the challenges of co-teaching for teacher professional development, course ...improvement and for wider reforms. We explored how co-teaching emerged and what barriers teachers experienced as meaningful for their co-teaching after a national core curriculum reform. Two cross-sectional data sets were collected. Three qualitatively different co-teaching profiles emerged: highly collaborative, collaborative, and imbalanced co-operative co-teaching. However, teachers’ experiences of the meaningful barriers varied. Finally, we propose a model of contextualised co-teaching that supports implementing and researching co-teaching as a part of second-order educational changes.
•Traditionally, co-teaching and team teaching have been used as tools to transform educational practices.•Successful transformations require committed teachers but also support from school-, regional- and national-level actors.•Highly functional co-teaching is characterised by shared regulation of teaching practices.•A contextualised model of co-teaching supports recognition of beneficial practices at all relevant levels.
While sketching has an established role in professional design, its benefits and role in design education are subjects that invite research and opinions. We investigated how undergraduates studying ...to become design educators and textile teachers used sketching to generate and develop design solutions in a collaborative setting. The students were given an authentic design assignment involving three detailed tasks, one of which was 2D visualisation by sketching. Adopting a micro-analytical approach, we analysed the video-recorded visualisation session to understand how teams used sketching to collaborate and to generate and develop design solutions. To that end, we set three research questions: (1) What ways of collaborative working are reflected in actions of sketching? (2) In what ways do sequences of collaborative sketching contribute to designing? (3) What kinds of collaborative sequences of sketching advance designing? Our analysis identified three collaborative ways of sketching (co-ordinated, collective and disclosed) and confirmed that sketching is an important facilitator of mutual appropriation, adaption and adoption. Next, we identified three ways of contributing to designing, as well as three functions and six capacities for advancing designing. Our analysis shows that sketching can lead to invaluable advances in designing, although each team had its own way of using and benefiting from sketching. We further consider that the teams’ diverse sketching processes and rich content owed, at least in part, to the task structure and imposed constraints. We continue to see sketching as an important design tool, one among many.
The purpose of the present article is to analyse textile teacher students' collaborative designing of a functional 3D textile puzzle for visually impaired children. The data collection took place ...across three sessions of collaborative designing: defining design constraints, visualization
and building a mock-up. Twelve first-year university-level students, training to become textile teachers, participated in the study, working in four teams with three students in each team. We were interested in the nature of their design process and how kernels of design ideas were created
and transformed during the collaborative design process. The analysis focused on the teams' design activities and content logs of the video data. The video-recorded data were segmented into two-minute intervals using INTERACT video analysis program. Each segment was classified according
to seven observable design activities. This provided a macro level analysis for all design activities during each design session and data for further analysis of different orientations of teams. The results indicated that all teams engaged in progressive design processes and were able to create
unique and practical design solutions. The design process turned out to be a problem driven in nature for two teams, whereas the other two teams engaged in a solution-driven design process.
This study investigates student craft teachers’ motivational issues within the course frameworks covering yarn crafts. The data consist of materials gathered from two bachelor-level university ...courses, which both utilized flipped learning as their pedagogy framework for learning and teaching crafts. Advanced-level student craft teachers participating in the courses (N=15+4) set their own learning objectives to reflect the general course targets defined by the course curriculum. The objectives, self-assessments, course work and course-end surveys were acquired as research data and analysed by thematical qualitative analysis, to obtain knowledge of extrinsic and intrinsic motivations. In line with Self-Determination Theory used as a theoretical framework of the study, the results suggest that possibilities to finetune course objectives to meet students' personal skills and resources were considered crucial for study motivation. Craft learning embraced realization of one’s effort, inner potential and values, resulting in student satisfaction about receiving personalized attention and instructions for their own study projects. Hence, the results enhance a more detailed understanding of student diversity and related motivational issues that can promote the equity of education.
This study investigates student craft teachers’ motivational issues within the course frameworks covering yarn crafts. The data consist of materials gathered from two bachelor-level university ...courses, which both utilized flipped learning as their pedagogy framework for learning and teaching crafts. Advanced-level student craft teachers participating in the courses (N=15+4) set their own learning objectives to reflect the general course targets defined by the course curriculum. The objectives, self-assessments, course work and course-end surveys were acquired as research data and analysed by thematical qualitative analysis, to obtain knowledge of extrinsic and intrinsic motivations. In line with Self-Determination Theory used as a theoretical framework of the study, the results suggest that possibilities to finetune course objectives to meet students' personal skills and resources were considered crucial for study motivation. Craft learning embraced realization of one’s effort, inner potential and values, resulting in student satisfaction about receiving personalized attention and instructions for their own study projects. Hence, the results enhance a more detailed understanding of student diversity and related motivational issues that can promote the equity of education.
This article is based on a study of novice designers’ knowledge of materials in a challenging collaborative assignment. We approached material knowledge from two complementary viewpoints: the ...dimensions of knowledge shared during designing, and how student teams built new knowledge during making. We found that both modalities studied—namely, words and gestures—contributed to advancement in designing. The modalities became specialised: While words served mainly to identify materials and to describe visual qualities, gestures conveyed information about size, shape, location and dynamic dimensions, such as movement and change over time, as well as signature qualities based on embodied experience. During making, ambitious teams took material decisions and the challenge of authenticity seriously, but the tight timeframe and budget compelled them to favour pragmatic choices.
We studied student craft teachers’ garment-fitting activity as a demanding learning task that is indicative of students’ understanding of garment fit. Studying fit is essential in garment making. ...Simultaneously, fit is a complicated issue. As part of this clothing course, the students were given a form that listed areas to examine (bust, seams, darts etc.). They were instructed to think aloud, mark problematic areas and the placement of darts on a picture, and make written notes. While appreciating the potentially challenging social character of this peer-evaluation situation, this research aimed to understand how student craft teachers assess garment fit on a master’s-level clothing course. Two research questions were set: 1) What roles did the students take on during the fitting sessions? 2) How did the students assess garment fit? Eleven students provided their informed consent to participate and their video recordings of their fitting sessions. The study results are based on a qualitative content analysis of these participants’ videos. The results show that the students’ understanding of fit and the fitting activity was underdeveloped. Students missed or explained away even obvious fit issues (e.g., horizontal or vertical folds of fabric, horizontal or diagonal drag lines, bagging, overly long/short sleeves or bodices), and their discussions showed that a basic understanding of fitting-related vocabulary and technical structures was underdeveloped. Three different ways to handle fit issues were identified: through peer dialogue, independently and through confirmatory questions. We conclude with some future directions for refreshing the teaching of garment fitting in teacher education.Keywords: student craft teacher, garment fitting, history of teaching clothing, teacher education, video-based qualitative content analysis
This issue of FORMakademisk features selected articles developed from papers presented at the symposium Embodied Making and Design Learning at the DRS/CUMULUS-conference LearnXDesign in Chicago, ...Illinois, June 28–30, 2015. This special issue was developed as an initiative by the symposium conveners. The symposium was developed by researchers from research groups in Norway, Finland and Canada to explore various aspects of embodied making in relation to design learning. The symposium was a full-day event with four sessions, seven paper presentations, a roundtable discussion, a plenary discussion and a workshop. The symposium received positive feedback, attracting many participants and stimulating engaged discussions throughout the conference. This indicates a growing awareness of the topic of embodied making and design learning. This special issue features five articles that together highlight a variety of approaches and examples of current research endeavours in relation to the theme.
In this exploratory case study, we focus on empathy, an important aspect of contemporary design practices. We aim to explore how design empathy manifested in students' design processes. A three-month ...participatory design project was created and assigned tostudents (aged 14–15), with the following brief:'co-design and make an e-textile product for kindergarteners according to their wishes and needs'. We examined 72 end-user-related design episodes from two student teams (six students in total), analysing students' end-user-related considerations, as well as different signs and dimensions of empathy. Our findings indicate that the students considered, discussed and referred to topics concerning end users during the process. Signs and dimensions of empathy were found in the various end-user-related discussions and empathetic considerations, through which end-user-friendly design products materialised. We conclude that students could practise empathic design by acknowledging end users in multiple concrete and abstract ways and designing and manufacturing meaningful products for end users. This offers new opportunities for engaging students in reflective (digital) design and making, targeting design-literate citizens in the 21st century. However, this novel fieldrequires further studies in educational contexts other than higher education, which currently has the best research coverage.
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