Design thinking

Design thinking: creativity for the 21st century is an Open University level 1 course that went live in February 2010. I worked with the course team as a consultant; authoring content, providing feedback on the use of new software that was developed for the course, and overseeing consistency of content and use of images across the whole course.

Course content
Through a mix of academic, practical work and reflective activity students develop an understanding of design, acquire new designing skills and build a portfolio of design projects as a foundation for future study. The course looks at common principles of design and ways of thinking that lead to ideas and creative solutions.

Software
OpenDesignStudio is an image sharing site so the students, who work remotely, can upload images of their practical work and discuss it with their tutor and other students. Compendium is a mind mapping software that students use to record their activities as they are designing and as a reflective tool as part of their assessment.

Ongoing involvement
I now work as a tutor on the course and am also forum moderator, an essential part of college life for distance learners!

Students at a Day School

More understanding of "the crit"

A small 'aha' moment about what is happening during "the crit" I described earlier - two things:

• The teacher(s) assess the student's work, tell them what is good about it and where it can be improved. (That bit is obvious!)
• The student experiences this process for their own work and sees it happening to other students. In this way they learn about how to critique generally; the sorts of criteria their work is judged on, things which tend to be praised, things which tend to be frowned upon, different ways of solving different problems. (That was my 'aha' moment!)

In this way they both learn how to improve their current work and how to critically evaluate their future work. Individual feedback wouldn't be as effective, being part of a group is vital, but students don't seem to understand group work. There is a constant complaint from Lecturers that students do not turn up to organised teaching sessions, but are constantly clamoring for individual attention.

Again, during the H&S training session I observed, the small group of students who attended got to see a range of common problems and solutions to them which would have been much more limited if they had been alone. They clearly did not understand this and had a tendency to wander off or be looking elsewhere whilst the others had their go.

I wonder if simply making this explicit to the students would make a difference, or if something more sophisticated with group work and peer support needs to be done?

Dissecting a chicken

I have vivid memories of a first aid training video which I watched around 15 years ago. Why? Well, interspersed between the clips about how to check someone's pulse, put them in the recovery position, and so on were clips of a chef using a large meat cleaver to joint a chicken. Each time we returned to the kitchen he was using the tool calmly and skillfully, but this was a video about first aid and the suspense was dreadful ... and yes, eventually the inevitable happened!

This was brought back to me because I spent the day watching and thinking about basic Heath & Safety training. In my current research at Sheffield Hallam University I am looking at how basic skills are taught in the Design Studios and how web 2.0 technologies could be used to support independent learning. H&S training is so important, done properly it will help prevent students hurting themselves, damaging costly machinery, and ruining their creative work, but mention it and people glaze over.

The three students who did turn up this morning I think had a really engaging and useful session. The technicians showed them so many little handy hints over and above the statutory safety stuff and they gained really valuable experience using the equipment. However, it was not efficient use of staff time and the other students won't be allowed to use the workshops until they too have had their training.

This feels like a good area to tackle in my research (there's funding for it!) and I am now thinking about how I could make it appear more relevant and interesting. I'm very squeamish so I don't think I'll be shooting it as a horror movie, but it is food for thought!

Craft learning and "the crit"

"The crit" is central to traditional design education and I sat in on one this week as part of my current research at Sheffield Hallam University. It brought back memories of doing it myself, it is a fairly scary experience, and it made me think about the Japanese craftsmen's apprenticeship experiences described in Edo craftsmen : master artisans of old Tokyo.

Firstly let me describe "the crit" for the uninitiated; it's a little like X Factor or Britain's Got Talent, but the audience are also putting on the show, they are students each showing their latest work. One by one they go to the front of the room and show images of their work on PowerPoint and hand around things they have made. The 'judges' are a group of lecturers who sit around a table making notes, discussing, asking the students questions and offering advice.

It is only three weeks until the students hand in their final projects and they need help knowing what to do to get it finished satisfactorily. Quite a few haven't made good use of the Easter holidays and are going to have a busy few weeks. The atmosphere is a bit tense, the lecturers at times have to be quite blunt to the students about their work, but whilst they are tough, they are also very fair and very supportive. There feels to be a close bond between the lecturers and students. At the end of the session another student drops into the room to give a little box to one of the lecturers; it contains a cup-cake and pinned to the top is a handwritten thank-you note!

Whilst the students go through this many times during their three years at University, the old craftsmen in Toyko had often started at a very young age and continued under the critical eye of their master for many years. For some it was clearly a positive experience, but others spoke with perplexing pride of the fact that their masters never praised their work and they were reluctant to praise their own work themselves. I can't decide if it is false modesty or a genuine feeling that they ll never be as good as their masters. Either way, it doesn't strike me as healthy.

This somehow joins up with my other major project with Open University where I have been part of the team writing a new course in Design Thinking which is entirely delivered online and all the students study it remotely. I am tutoring one of the first batches of students through the course and also moderator on the student forum so party to a wide range of online interactions. In this situation it seems to be quite difficult to "crit" the students and even getting them to do critical analysis of their own work is not easy. This too is not healthy!

I feel that for online / distance learning to be successful there needs to be a way of getting the right sort of "crit" into the arena. It needs to fall into the 'tough but fair' category, which partly comes from the attitude of the teachers (those I observed clearly worked well together as a group), and partly from their relationship with the students. Fostering all this online is very different to dealing with face-to-face relationships and so much of it falls outside the scope of the sorts of learning resources I have been designing, however it is clearly vital to their success. Hmmmm ...

via my kesurokai blog

Traditional craft apprenticeship

As a great admirer of traditional craftsmanship, I am saddened when craftsmen come to the end of their working practice without having passed their unique skills on. However, the more I read about traditional apprenticeship, the more I can see why this has happened and cannot wish for a return to the old ways of teaching.

I just finished reading "Edo Craftsmen, master artisans of old Tokyo" and of the twelve featured craftsmen only two appear both to have long-term viable businesses and trained apprentices to pass on their skills. Part of the problem is the increasing accessibility of cheaper, mass-produced alternatives to whatever they make. However, many craftsmen manage to market their produce in such conditions by selling a small volume at higher prices to more discerning customers. The failure is in part caused by a lack of younger people coming into the crafts with the vision to exploit such markets.

The descriptions in the book of the craftsmen's experience of traditional apprenticeship reveals both the rigour and the modern-day drawbacks of the system. They would start very young and spend several years doing menial tasks whilst observing the breadth of the practice, then gradually take on small tasks followed by increasingly complex ones as they grew older and more able. The emphasis was not on teaching, but learning; observing and imitating, rather than being shown how.

With a good master and a willing student this clearly works well. In her study of the Japanese ceramicist Shoji Hamada, Susan Peterson describes the relationship between deshi (apprentice) and master: “To learn as a deshi means to submit one’s self to the master, to leave one’s own self, to become ‘in’ the master. This ‘surrender’ to the master does not mean just blind imitation, but gives a spiritual discipline and the opportunity to absorb a skill into one’s bones.”

However, it is a system that relies on a huge amount of trust and non-verbal communication between master and apprentice, and that is not always going to work well. Whilst a very strict master might ensure that very high standards of craft skills are passed from one generation to the next, it might well be at the cost of creativity and the ability of the younger person to see new opportunities and develop new markets. Given also that young people stay in school much longer nowadays, I cannot see a traditional craft apprenticeship being a very appealing option.

The future, however is not all bleak, I think there are craftsmen who have adapted to new ways of teaching and also multimedia offers huge potential to record and transmit quite complex skills. In my last research project I worked with traditional Sheffield knife makers and made an online resource which was successfully used by a variety of learners. The wonders of the internet mean information travels fast and those who wish to learn in this way can readily access such resources and conduct their own apprenticeships in their own way.

via my Kesurokai blog

Kesurokai

Kesurokai was started in Japan in 1995 by the highly respected temple carpenter Sugimura San. His aim was to bring together different craftsmen who normally work remotely to exchange traditional craft techniques and knowledge.

The events were brought to Europe through Hannes Schnelle, a German carpenter who spent a significant period of time working in Japan, becoming Sugimura San’s last apprentice before semi-retirement. In 2005 and 2007 he organised Kesurokai in Germany bringing together craftsmen from a wide range of European countries along with a delegation of Japanese craftsmen led by Sugimura San.

In 2010 Chisana (little) Kesurokai will see a return trip, with a group of thirty European craftsmen travelling to Japan to work with their Japanese compatriots building a traditional tea house. I shall accompany them, both to observe as part of my research into the transfer of craft knowledge, and to document the event on film.

Embrace ... the $25 "incubator"

A student project from Standford Institute of Design. Their 'extreme affordability' class, which focuses on challenges in the developing world, were working with a partner in Nepal looking at developing a lower cost incubator for premature babies. Through spending time with families in Nepal they were able to reframe the problem and come up with this simple low-cost solution...



Empathy is they key to their solution!

From ForaTV via BoingBoing

One thing about being a designer

Just found this fascinating series of videos featuring a whole host of digital designers who had been asked to give just one piece of advice to anyone entering the field of design. Their responses vary from the very practical "having a camera, taking it everywhere, taking pictures" to the subtle "find the middle ground between clever and stupid." They are here on a blog from the School of Visual Arts, New York.

Bobby McFerrin and the pentatonic scale

A joyful video ... but also a fine example of communication skills:



World Science Festival 2009: Bobby McFerrin Demonstrates the Power of the Pentatonic Scale from World Science Festival on Vimeo.

See how little he had to do and the audience just 'got it'. Inspirational!

Dunne & Raby

Dunne & Raby - Huggable atomic mushroom
I just rediscovered Dunne & Raby whilst looking for some material for a new 'Design Thinking' course I am doing some work on for Open University. They use design as a medium to promote debate between designers, industry and the public in a way that is provocative and often humorous. I am also fascinated by their web site because it does not behave in a way you think it should ... take a look and see http://www.dunneandraby.co.uk/