The use of rubrics can be beneficial in guiding students through the learning process. Well-designed, the rubrics are versatile tools that make it possible to evaluate both individual work and teamwork, while promoting self-learning. This paper presents a set of rubrics designed for the subject 'Model making workshop' of the Bachelor's Degree in Industrial Design and Product Development Engineering. The subject aims on the one hand that students understand the importance of models as vehicles for presenting ideas about new products, and secondly, to acquire the skills needed to build them properly. The intention when applying the rubrics is twofold: on the one hand, it is intended that students acquire skills to objectively assess their work and that of others, and on the other, offer clear criteria that serve as a guide for the correct development of various models, setting some specific objectives in each case, such as knowing how to work the different materials and the formal design concepts inherent in each work. The rubrics have been applied during the current academic year and the results are commented.
Hand drawing is a basic tool for industrial designers, as it allows them to represent and communicate concepts in an agile way during the initial design phase. Although we can find subjects related to drawing in the first years of all university degrees in industrial design, the way to implement the necessary activities is not always the most appropriate, and it may happen that, despite having practiced sketching, at the end of the course the students do not have the necessary skills to communicate their ideas effectively or adequately represent the reality that surrounds them. This paper proposes twelve groups of activities designed to help industrial design students acquire skills related to hand drawing. The activities were implemented during the second course of the Degree in Industrial Design and Product Development Engineering at Universitat Jaume I, improving those implemented during the last course. The paper analyzes and discusses the positive results of the innovations introduced, which improved the mean grade of the course by 4.48% with respect to the grade obtained the previous year.
Este trabajo propone un nuevo modelo para el diseño y desarrollo de nuevos productos y establece un marco de reflexión sobre la relación que debe establecer el diseñador con los consumidores pertenecientes a colectivos especiales al integrarlos en el proceso de Co-Creación, tratando de responder a sus necesidades reales independientemente del potencial comercial del producto. Desde el punto de vista de un diseño de producto que no vela únicamente por los meros intereses económicos de las empresas, parece posible aprovechar la inercia actual de otros movimientos sociales para trasladar estos cambios de poder también al sistema de consumo. Este planteamiento retoma en parte los principios del Diseño Universal como camino hacia un diseño que atiende a las diversidades, capaz tanto de llegar a todos los ciudadanos para dar solución a sus necesidades como de minimizar la brecha social que ha ido ampliándose en las últimas décadas.
In the practical subjects of the Degrees in Industrial Design students usually apply theoretical knowledge to solve complex cases, but in many occasions these cases are only fictional. However, it is also possible to provide students with cases that respond to real needs, and on many occasions, it is the companies that propose them through contests. Numerous experiences endorse the Competition-Based Learning (CBL) as a working methodology that improves the motivation of the students. But it is worth asking to what extent this motivation achieves a significant improvement in student performance. This paper hypothesizes that the performance of industrial design students is higher when they work to solve real cases than when they have to solve fictional cases. To demonstrate it, the average grades obtained during 8 academic years in a subject related to packaging are compared. Between 2011 and 2014, students were presented with a fictional case in which it was necessary to solve a specific need for a new type of packaging. Between 2015 and 2018 a similar exercise was planned, but based on real cases proposed by companies in the sector. In both cases, the exercise was planned during the central weeks of the semester, the students were given a similar period of time to develop them (around 4 weeks), and they were evaluated according to similar criteria. The results of this study show that the orientation of the exercises towards real cases through participation in contests seems to have a slight positive influence on student performance (+3.25%), so it is possible to demonstrate that the incorporation of CBL as a teaching methodology is generally positive for design students, given that it improves both their motivation and the quality of their proposals and has a positive impact on their performance.
Sustainable human development has become a need in today's globalised world. Design, understood as a cultural phenomenon, is not unrelated to this need, as can be seen both in practice through many of the products designed with sustainable values, and in theory through the numerous publications that are being produced around issues related to sustainable processes. However, the complexity of the significance of sustainable design demands a critical approach to the concept of sustainability in order to establish a disambiguation of the term, which is misused in many contexts. This paper offers a global analysis that integrates the origins, evolution, components and situation of sustainable design in the socioeconomic framework, with the aim of breaking with partial approaches and helping to understand the term correctly, while proposing the basis for moving towards a change in the current model. In order to disambiguate the term of sustainable design, this study uses a methodology based both on the analysis of works by relevant authors in the design field (Bonsiepe, Manzini, Margolín, Papanek, Cortina) and on the analysis of relevant bibliographical sources belonging to different fields, such as economic, business, ecological and social, establishing relationships and differentiations with the terms of ecodevelopment, ecodesign, globalism, growth, ecological balance and circular economy. The results of the present work show that for the disambiguation of the term sustainability it is necessary to simultaneously consider 5 areas: economic, political, environmental, social and cultural, and point out the current pre-eminence of an economicist vision of the term that is made visible through an excessive faith in technology, a biased vision of sustainability that benefits the current economic system, the integration of the social factor exclusively from the responsibility of the company, and a vision of the future based on a design that lacks the necessary critical foundation to stop feeding a culture based on unsustainable consumption and production models. As this is a timely topic, the relevance of this study for the field of design lies in two aspects: on the one hand, it allows the current designer to better understand the concept of sustainability, moving it away from a biased view, normally oriented only towards commercial purposes; on the other hand, in the field of education, the results of the study can be easily integrated into the curriculum of the current Degrees in Industrial Design, allowing the students and future designers to enrich their training with a more complete and critical view of the term, while at the same time allowing them to understand the need to integrate ethical values into the design process.
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