This paper reports on a project named Platform 6, which was designed to facilitate teacher development and thereby to develop teachers as scholars. Initiated within the context of Boyer’s Scholarship of Engagement (1991), Platform 6 is a training programme and awareness drive devised for secondary school design teachers on the pedagogy of teaching design thinking and practice.
The exploratory first leg of Platform 6 was limited to a sample of National Senior Certificate (NSC) schools in the Western Cape. Qualitative-exploratory research methodology was employed to gain real world insight about the teaching and learning environment of design teachers in South Africa. It was useful to understand the dynamics of design teaching in grades 10 to 12 in Western Cape schools.
Objectification imparts harm to women and sets a detrimental precedent for self-objectification. This is particularly true for young women who are seeking information to assist them in the process of identity construction. Experimental studies indicate that objectification in media causes negative body esteem, an unnecessary drive for thinness, eating disorders and related psychological problems. Globalised media trends emphasise and value women for their physical appearance. These trends de- personalise women, depict them as objects to be gazed at, and style them as decorative, rather than a person with a mind, aptitude, intellect, personality and a ‘voice’.
In this paper, we argue that the current environmental information system of Braamfontein is problematic as it is ethically unconsidered and overwhelmingly bias towards the interests of commercial stakeholders - over those of the residents, workers, students and visitors. While a business is justified to act in a conceited manner, we believe that information provided to the public in a public space needs to be more utilitarian, servicing the needs of the majority over those of the few.
In this paper, the authors present information needs required by caregivers in a resource-constrained community during their health-education activities with considerations to design ethics. The role of visuals and technology in facilitating health communication, the need to design “with” users and the benefits thereof are discussed.
Repurposing images has become an integral part of the ideation phase of fashion design processes. The use of online images presents both a challenge and an opportunity for fashion design students who use images of others to communicate a design concept through mood boards. The challenge pertains to the authenticity of their design concepts.
Although the authors of this paper acknowledge the importance of referencing of visual material as a strategy to prevent plagiarism, the argument is made that compilation of mood boards with existing images can be further explored, especially with regard to the accountability of an individual in relation to the concept authenticity.
South Africa finds itself in the difficult position of not having a truly representative voice for design practice. Furthermore, we find ourselves without an advertising regulator with legislative support or legal force with a view on ensuring ethical and non-harmful design practice. The closest we come to such a body, is our advertising self-regulator, namely the Advertising Standards Authority of South Africa (ASASA).
In order to produce skilled design graduates schools regularly restructure their curricula to develop knowledge characterized by continuous advancements applicable to the ever-changing design industry. New schools are in demand and a concern arises that these offer little more than specialized software training and do not sufficiently prepare students to become empathetic, thoughtful individuals that may serve the needs of society. Former president of the International Council of Graphic Design Associations (ICOGRADA), designer and educator Jorge Frascara (2008, sp) confirms this:
"...the [designer's] task is to design for the individual placed in his or her immediate context." (Buchanan 1998, p. 20)
This paper about a graphic design case study discusses the positive impact of stakeholder participation during the problem-setting phase of the design process on the designer's ability to reframe the design problem and to conceptualise human-centered design solutions that add value and enrich people's everyday lives.
Governments, policy makers and environmental activists across the globe, entered the 21st century with a renewed focus in combatting the impact of humanities unsustainable practices. To achieve this goal a paradigm shift towards being environmentally responsible and accountable is required in which humanity will have to adopt radical personal change. This paper therefore aims to address the unsustainable future that humanity faces through investigating the role of education as agents of change in motivating sustainable practices and inspiring personal, ethical conduct amongst university students.
The role of the design educator is to mediate learning and equip students to effectively contribute to their specific field once they graduate. With an ever-increasing demand for the ethical consideration of the sustainability of products and the impact of the manufacture thereof, so too the role of the educator should compensate and prepare learners accordingly. This paper aims to investigate the social and environmental responsibilities of industrial design professionals by referring to the works of key authors as well as current industry practices.
There is no doubt that the role of product designers has changed considerably, not least with the rise of human-centred design. While Papanek’s 1971 “Design for the Real World: Human Ecology and Social Change” seemed radical at the time, his ideas seem entirely at home in the 21st century, including his call to adopt more social responsibility in design. These views are echoed in the contemporary findings of professionals and researchers associated with ICSID, the International Council of Societies of Industrial Design. The focus has shifted, from the designer as the expert to the user, or community, as the expert in their own environment; and Co-design, Participatory design, and Universal Design are but a few examples of such people-focussed design approaches.