It is difficult, but crucial, to understand the roles of design studio teachers to facilitate the learning processes and improve the teaching approaches. In this respect, the roles of design studio teachers in design education literature are seen rather dispersed. In this study, an
integrative literature review of studies was conducted by examining pedagogical roles of design teachers within the frame of the learning processes (cognition, affection and psychomotor). This systematic review aims at wrapping up the literature on the design teacher’s pedagogical role
and scrutinizing and mapping the contribution of the design teacher’s pedagogical role in learning processes. The articles reviewed were analysed in terms of their importance given to learning processes through the radar charts. With a critical lens, this review is expected to contribute
both to nurture the practice of design teachers and to inform design education literature. Via this, design teachers can get informed and through the mappings offered in this study, and they can also explicitly appreciate their roles and strategies in their design studio courses.
Abstract:Product experience encompasses all five sensory modalities through which information is received (Shifferstein and Desmet, 2008) therefore designing taking into account all the five senses is important. Besides, advances in technology make it easier to accomplish designing for five senses in many industries. On the other hand, particularly in the early years of undergraduate level industrial design education, sense of vision is often emphasized more compared to the other four senses. In order to underline the importance of the remaining senses, a unique studio course has been designed at Istanbul Medipol University, aiming second year industrial design students. In this particular studio course, in addition to their regular sketchbooks, students are expected to keep a dairy of sound, tactile, smell and taste. The course is designed in four modules and this paper elaborates on the details of Module I that focuses on the sense of hearing. Module I is interdisciplinary in the sense that a psychologist and a music composer/virtuoso have been invited to contribute to the classes so that designs can be treated at the visceral, behavioural and reflective levels (Norman, 2004) more profoundly. This paper aims to share the outcomes related to the 15 projects carried out during the course such that the advantages and the disadvantages of a multi-sensory design studio set up are revealed.
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