Design-without-make: challenging the conventional approach to teaching and learning in a design and technology classroom

Barlex, David; Trebell, Donna

doi:10.1007/s10798-007-9025-5

Cited by 44 publications

(27 citation statements)

References 7 publications

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“…The lack of creativity in design and technology courses has been noted by Barlex and Trebell (2008). Furthermore, there is an evident lack of progression in design skills in various designoriented educational contexts (Barlex & Trebell, 2008).…”

Section: Aspects Of Digital Design and Creativitymentioning

confidence: 99%

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Formal Learning Sequences and Progression in the Studio: A Framework for Digital Design Education

Wärnestål

2016

JITE:IIP

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This paper examines how to leverage the design studio learning environment throughout longterm Digital Design education in order to support students to progress from tactical, well-defined, device-centric routine design, to confidently design sustainable solutions for strategic, complex, problems for a wide range of devices and platforms in the digital space. We present a framework derived from literature on design, creativity, and theories on learning that: (a) implements a theory of formal learning sequences as a user-centered design process in the studio; and (b) describes design challenge progressions in the design studio environment modeled in seven dimensions. The framework can be used as a tool for designing, evaluating, and communicating course progressions within -and between series of -design studio courses. This approach is evaluated by implementing a formal learning sequence framework in a series of design studio courses that progress in an undergraduate design-oriented Informatics program. Reflections from students, teachers, and external clients indicate high student motivation and learning goal achievement, high teacher satisfaction and skill development, and high satisfaction among external clients.

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Section: Aspects Of Digital Design and Creativitymentioning

confidence: 99%

“…Furthermore, there is an evident lack of progression in design skills in various designoriented educational contexts (Barlex & Trebell, 2008). This points towards a gap in IT education that needs to be addressed.…”

Section: Aspects Of Digital Design and Creativitymentioning

confidence: 99%

Formal Learning Sequences and Progression in the Studio: A Framework for Digital Design Education

Wärnestål

2016

JITE:IIP

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“…True technological capability involves self-monitoring and awareness of how and when to use particular skills and knowledge. Barlex and Trebell (2008) argue that competency develops with coherent thinking and not just as an accumulation of knowledge. The value of design based activities lies in autonomy, the context and need to acquire relevant multi-disciplinary knowledge, demonstration of capability, problem solving, communication, and synthesis.…”

Section: Introductionmentioning

confidence: 99%

The validity and value of peer assessment using adaptive comparative judgement in design driven practical education

Seery

Canty

Phelan

2011

Int J Technol Des Educ

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This paper presents the response of the technology teacher education programmes at the University of Limerick to the assessment challenge created by the shift in philosophy of the Irish national curriculum from a craft-based focus to design-driven education. This study observes two first year modules of the undergraduate programmes that focused on the development of subject knowledge and practical craft skills. Broadening the educational experience and perspective of students to include design based aptitudes demanded a clear aligning of educational approaches with learning outcomes. As design is a complex iterative learning process it requires a dynamic assessment tool to facilitate and capture the process. Considering the critical role of assessment in the learning process, the study explored the relevance of individual student-defined assessment criteria and the validity of holistic professional judgement in assessing capability within a design activity. The kernel of the paper centres on the capacity of assessment criteria to change in response to how students align their work with evidence of capability. The approach also supported peer assessment, where student-generated performance ranks provided an insight into not only how effectively they evidenced capability but also to what extent their peers valued it. The study investigated the performance of 137 undergraduate teachers during an activity focusing on the development of design, processing and craft skills. The study validates the use of adaptive comparative judgement as a model of assessment by identifying a moderate to strong relationship with performance scores obtained by two different methods of assessment. The findings also present evidence of capability beyond the traditional measures. Level of engagement, diversity, and problem solving were also identified as significant results of the approach taken. The strength of this paper centres on the capacity of student-defined criterion assessment to evidence learning, and concludes by presenting a valid and reliable holistic assessment supported by comparative judgements.

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“…Barlex (2011) has proposed a fourfold model for delivering design and technology activity (Figure 1): designing without making (Barlex and Trebell, 2008;Barlex, 2005), making without designing (Williams, cited in Banks and Owen-Jackson, 2007: 191), designing and making (QCA, 2007: 51, 54, 56, 57) and exploring technology and society (Barlex, 2003). The hypothesis behind this question was that pupils perceive that making in more enjoyable than designing, and that there is limited exploration of 'technology and society' in most KS3 curricula.…”

Section: Question 8: "Which Of the Following Statements Best Describementioning

confidence: 99%

Reviewing the Impact of the National Strategies Design and Technology Framework for Key Stage Three

McLain

Irving-Bell²,

Smith³

et al. 2014

EJSBS

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Since the beginning of Design and Technology (D&T) in the English secondary school curriculum, the teaching of design has been identified as less effective than that of making. In 2004 as part of the National Strategies, the D&T framework was launched, aiming to support the teaching of design skills. This small-scale study begins to explore the experiences of pupils and teachers in four schools in the Northwest of England. The study uses a mixed methods approach, gathering quantitative and qualitative data in a questionnaire with a convenience sample of school pupils. Responses are analysed alongside qualitative interviews with D&T teachers from the schools. The findings indicate that many pupils had a clear understanding of the role and function of designing. However, some common assumptions of the nature of design activity centering on the act of sketching or drawing were evident. Whilst some progress has been made in the teaching of design, through the use of design activities introduced in the D&T Framework, the support experienced by teachers was limited and were not sustained beyond the initial training. There are implications for initial teacher educators in supporting beginning teachers and balancing the tensions trainees experience whilst on placements in school.

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Design-without-make: challenging the conventional approach to teaching and learning in a design and technology classroom

Cited by 44 publications

References 7 publications

Formal Learning Sequences and Progression in the Studio: A Framework for Digital Design Education

Formal Learning Sequences and Progression in the Studio: A Framework for Digital Design Education

The validity and value of peer assessment using adaptive comparative judgement in design driven practical education

Reviewing the Impact of the National Strategies Design and Technology Framework for Key Stage Three

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