The paper discusses a globally networked learning project with graphic design students from Mexico, the United States of America, and South Africa. Globally networked learning (GNL) aims for cost-effective internationalization strategies where digital platforms replace physical student exchanges. The project was designed according to Collaborative Online International Learning (COIL) principles, which included ice-breaker activities at the beginning of the project and reflection activities at the end.

This paper identifies the desired design outcomes and problem domains of experienced Johannesburg fashion designers, to provide recommendations for fashion design practice and education. Traditional fashion design education often emphasises aesthetics and technical construction before strategically deciding on where the design effort needs to be focused within complex integrated systems. However, within the context of the fourth industrial revolution (4IR), complex integrated systemic thinking is becoming increasingly important. As such, this paper provides an overview of the design outcomes of practising fashion designers and explores the correlation between the problems they manage and Buchanan’s (1998) seminal proposition of problem framing and placement domains.

The 2020 South African Presidential Commission on the fourth industrial revolution (4IR) presented five development pillars for the South African 4IR strategy, with the People and Skills pillar emphasising the role of the education sector in South Africa’s successful global participation in the 4IR. The report identifies a lack of soft skills such as creativity and problem solving in new graduates, adversely affecting their work-preparedness and employability. The World Economic Forum’s 15 top skills for 2025 also placed soft skills as the top six future workplace skills. Tertiary educators have the opportunity and responsibility to prepare graduates for this shift to the 4IR-workplace by developing soft skills relevant to their discipline.

Design thinking (DT) has recently re-emerged as an essential mindset and skillshift for modern organisations seeking to improve innovation performance in the fourth industrial revolution (4IR). However, despite recent popularity and success especially in the tech industry, DT has lacked critical academic engagement and scholarly enquiry especially in Africa. Hence, this paper sets out to provide empirical evidence on how DT can help create opportunities and innovation in an AI/Algorithm-driven 4IR era, and why the design curriculum in higher education should be updated to include DT competencies.

Are traditional architectural studio-based teaching methods and tools still applicable, or are they causing a communication barrier between a student and a lecturer? In architectural design studios, promptly submitting projects is a problem. The paper is based on a study conducted by the author between 2016 to 2018 and aims to determine whether information technology (IT), such as building information modelling (BIM), opposed to the conventional method (CM), can improve informed design communication during conceptual design critique sessions. Therefore, contribute to prompt studio-based design project submissions. The research's objectives include understanding BIM as a design tool compared to a visualisation tool to facilitate early design decision-making.

This paper aims to propose and motivate further research in the sphere of Interior Design education in a private college environment in South Africa. The study focuses on finding strategies that motivate for student-staff partnership and collaborative learning in the theory subject of Critical Studies (CS) within a hybrid/online learning environment. The discussion takes the reader on a journey of analysis and discussion starting with traditional method of education and alternative pedagogies; the value of critical thinking skills in the twenty-first century and research based-education. The emphasis is on Critical Theory in Higher Education (HE) as a valuable drive in stimulating self-reflection that produces graduates that are contributing members to our society.

Multigenerational households are inhabited by three or more generations cohabiting; however, homes are not always designed to accommodate multiple generations. Having been raised within a home filled with grandparents, aunts, uncles, cousins, parents and siblings, the personal experience of the primary researcher has been drawn on to frame the analysis of the challenges associated with multigenerational living. Multigenerational living requires functional spaces: space that efficiently includes all occupants to create a harmonious environment.

The urgent need for pedagogical change, made possible by Digital Transformation (DT), is indisputable in design education (DE). This study considers the relationship between the evolution of Virtual Learning Environments (VLE) and the need for modernised pedagogy suitable for learning DE online, particularly by African students. The focus of the investigation is on the methods used in delivering DE curricula in relation to these technological platforms. This is carried out using a qualitative research approach with a phenomenological analysis framework. A conceptual model is constructed to explain the phenomena of interest. The research process reflects a constructivist epistemological paradigm based on the direct experiences and perspectives of the participants.

With the COVID-19 outbreak, universities worldwide have moved towards online learning or distance education. Despite pioneering work by distance learning institutions globally, the digital platform remains unexplored, particularly for online music teaching and learning. Face-to-face teaching for practical based subjects is challenging due to COVID-19 protocols.

The importance of cultivating a creative mindset in fashion design students to eventually thrive in the rapidly changing work environment that demands novelty in design is becoming increasingly relevant from an educational perspective. In addition, the challenges to enhance creative design processes of students have been exacerbated by the COVID-19 pandemic in 2020, which caused a sudden transformation from traditional contact education, to online and later blended learning. This implies that educators are challenged to re-think traditional strategies of teaching creativity to align to the shifting conditions.

The COVID-19 pandemic has exposed the deep cracks of inequality within the South African educational system (Gustafsson & Deliwe, 2020). The fourth industrial revolution (4IR) has presented a range of new technology applications (Lacy, Long, & Spindler, 2020). These technologies can be leveraged to provide more equal access to the technology needed for remote learning (Du Preez & Sinha, 2020). This paper uses a systemic design approach to reflect on the challenges faced in design education during the COVID-19 pandemic. Student feedback on the online learning experience during the COVID-19 lockdown was reflected on. Observations were organised in themes and then explored using the first step of Namahn and shiftN’s Systemic Design Toolkit (Van Ael & Vandenbroeck, 2016).

This paper reports on a qualitative case study exploring design student reflections about their experiences of a transdisciplinary online collaboration in a real-world learning project implemented in October 2020. The spread of a global pandemic that caused a primary and rapid shift from a contact-based learning model to fully fledged online teaching marked the year and learning for student participants. Applying an interpretivist paradigm, the researchers thematically analysed reflection essays from a sample of thirty-two design students to expose dominant perceptions.

Klaus Schwab defines the word "revolution" to convey the "abrupt" and "radical" change, which brought about the first, second, third and fourth industrial revolutions. Schwab explains that the fourth industrial revolution (4IR) will transform the way humans communicate, socially connect, function day to day and operate their jobs. The 4IR is not only about technology; its fundamental difference is due to these technologies combining: as a result, the physical, digital and biological spheres overlap.

Emerging technology is developing at an exponential rate and has a direct impact on design education. This boom in innovation has been dubbed the fourth industrial revolution (4IR). This economic initiative was framed at the 2015 World Economic Forum by Klaus Schwab and has been echoed since 2016 by South African politicians as a government and education policy transformation catalyst to South Africa’s struggling economy. Academic scholars are critical about these objectives against the face of high unemployment, poor education and developing foundational skills in South Africa. Educators are confronted with very little support to address this technological development, often leaving design educators with scepticism.

The purpose of this paper is to publish research findings on the use of automation and artificial intelligence as a sub-set of knowledge management domains in architectural organisations in South Africa. Automation and artificial intelligence are two aspects that the fourth industrial revolution deals with, and automation may drastically change the way humans work.

For this paper, research data was collected by means of a qualitative research study. Consisting of 14 semi-structured interviews. The paper presents a discussion and research on the use of automation and artificial intelligence in the service architectural organisations provide.

As fashion is becoming increasingly more inclusive of environmentally friendly fibres and sustainable textile solutions, consideration needs to be given to other applications of sustainable strategies within fashion design praxis (Gwilt & Rissanen, 2011, p. 57). Concepts such as design for sustainability, which centres on cutting waste, upcycling and fibre recycling strategies have become commonplace within the industry. A greater focus needs to be placed on developing new ways of clothing construction processes (Fletcher & Grose, 2012, p. 48).

This paper considers the importance of preserving ‘hand-skills’ in fashion design education for students to acquire the ability to visualise the shape, proportion and fit of a garment instead of relying solely on a computer. In addition, the apparel industry requirement for patternmakers to be familiar with digital patternmaking technology to speed up the efficiency of the patternmaking component of the manufacturing process is of equal importance. Both techniques are examined and compared in the research.

For decades, studio-based pedagogy, grounded in socially-engaged, constructivist learning spaces dominated design education (Crowther 2013; Shreeve, 2015). However, the global pandemic forced design education to align with the fourth industrial revolution (4IR) and move towards interactive digital technologies and online teaching and learning methodologies. Positioned in the space of 4IR, the move to digital technologies is required to digitally streamline and integrate human-centred opportunities for inclusivity guided by technological advancements (Chuo 2019, pp. 107).

Fashion design entrepreneurs (FDEs) are compelled to embrace digitalisation to create a competitive advantage and provide the Web 2.0 (participative and social web) smart customer with the service they require. The purpose of this research was to determine how social media facilitates custom-made apparel design decisions in the FDE context. This study sets out to apply the third-generation activity theory to show the role social media plays in the activity system's result between a customer and FDE during the design process. Qualitative data from three independent exploratory studies conducted in Gauteng, South Africa, were used.

In this paper, we do three things. First we discuss the concept of the 3Rs in the anglophone world in the 20th century. Second, we briefly view 3Rs in the context of environmental concerns. Third, we elucidate the three Rs in design education and practice, a concept which we have originated without reference to preliminary models other than Reading, Writing and ‘Rithmetic and Reuse, Repurpose and Recycle. We strive to remain a theoretical as we promote the consideration and inclusion of the full range of technologies in our teaching from the simplest to the more complex, plus the ancient to the most recent of materials, tools and processes for designers. Within each range we look to development of the broadest possible material and skills Repertoire for each designer.