Dynamic lighting is playing a key role in education, by considering the main photometric variables such as the correlated color temperature and the illuminance to increase student’s attention levels inside the classroom. In the case of design students, the project component is fundamental for teaching, where students mainly need to develop activities such as presentation to listen to the teacher instructions, ideation and sketching to propose a solution according to the problem being addressed, and exhibition to present the work that has been done. These activities require specific and adequate lighting conditions to generate a positive impact on the performance of students. This article presents the design of a dynamic lighting system capable of adjusting the correlated color temperature in a range from 2500 K to 6500 K and the illuminance levels in a range from 0 lx to 800 lx to enhance the sustained and fixed attention of design students inside the classroom according to the type of activity that is being developed. The performance of the system was evaluated experimentally by measuring student’s attention inside the ergonomics and usability laboratory by using the Gesell chamber, the Emotiv Epoc EEG Headset with 14 electrodes to measure the brain activity and obtain engagement and focus levels, the eye tracking Tobii glasses, and a protocol to evaluate performance including several surveys and camera observation. In conclusion, the dynamic lighting system can improve the attention of design students by configuring the photometric variables according to the type of activity that is being done.
La bitácora, un instrumento utilizado en los procesos de enseñanza-aprendizaje en diseño, suele utilizarse como registro del proyecto y no como un medio de externalización de los modelos mentales de los estudiantes y su transformación durante el curso de una asignatura. En este artículo de reflexión teórica se indaga por cómo la bitácora de diseño puede ser un artefacto cognitivo de aprendizaje para promover la metacognición en el proceso formativo. Para ello, se propone una aproximación cognitivista histórico-cultural en relación con el concepto de metacognición, como un aspecto fundamental para que se dé el aprendizaje en profundidad y comprender así la bitácora de diseño desde la noción de artefacto cognitivo, la cual se construye en las relaciones entre los agentes involucrados en el aula. Se establece el marco conceptual desde donde se formulan las categorías y posibles variables para comprender las representaciones externas que se presentan en la bitácora de diseño: sus niveles físico, simbólico y cognitivo. Las representaciones externas, como elementos simbólicos, son evidencia de los modelos mentales del sujeto y su aproximación a la solución de problemas desde el pensamiento diseñístico. Como resultado, se presenta una matriz con rasgos observables de las dimensiones y procesos metacognitivos.
This article aims to report the transition from intuitive to intentional projective activities in design recorded in the visual modes of sketchbook to analyze the metacognitive processes of design students. Phenomenography was used as an empirical sampling method to diagnose the sketchbooks of industrial design and graphic design students. The observation criteria focused on describing the metacognitive characteristics of the students with respect to the way they recorded their ideas visually, which showed design-specific projective actions. This research demonstrated and codified how students externalize intentional approaches in their sketchbook iterations, which can be grouped into three representation strategies: technical, methodological, and reflective; they are related to their experiences in projective activity. Consequently, we propose a new category called metacognitive transcendence, which refers to a strategy for controlling and regulating cognitive processes to transform an intuitive action into an intentional action mediated by a cognitive artifact: the design sketchbook. Three ways of metacognitive transcendence are suggested: instrumental (technical aspects), procedural (related to projection), and comprehensive (own reflection about the project itself).
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