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Design Education

Mohammad Anas Wahaj | 29 nov 2018

The idea of coffee table books with thick pages and attractive glossy covers is accessibility, they are reachable and readily readable. Henry Miller said in his book 'The Books in My Life' (1969), 'A book lying idle on a shelf is wasted ammunition.' But this may not be the case with coffee table books as they hardly lie idle. Moreover, Susan Sontag defined her library as 'an archive of longings'. Here are coffee table books on design that stand out in 2018 - (1) Andrew Martin Interior Design Review (Volume 22): With over 500 pages of the latest interior styles and trends, marks out the World's 100 greatest interior designers and showcases their projects on an international level. A must-have for interior designers and design professionals. Martin Weller, founder of Andrew Martin, says that the 22nd edition of the review 'honours alterity', due to the 'astonishing breadth and variety of work' involved. (2) Nina Campbell Interior Decoration: Elegance and Ease (Giles Kime): The book features a biographical essay that runs alongside images of lofty rooms with fabric-matched armchairs, tablecloths and curtains, antique occasional pieces and wallpapered wall panelling, each of which is punctuated with the finest upholstered furniture. (3) Shelfie: Clutter-clearing Ideas for Stylish Shelf Art (Martha Roberts): The idea of 'shelfie' started with Marie Kondo's de-cluttering trend, followed-closely by a surge in the popularity of open shelving. #Shelfie became a hot trend on social media with creatives and interior designers showcasing their shelfs. Martha Roberts brings the social media into the pages of the book. Her shelfie digest demonstrates a fusion of great design, an unapologetic display of personality and a deep sense of relevance to the digitally engaged generation of aesthetes. Read on...

The Independent: Best design coffee table books of 2018
Author: Anya Cooklin-Lofting


Mohammad Anas Wahaj | 26 oct 2018

Sustainability is evolving into an essential component of fashion and design industry due to environmental concerns. The Brooklyn Fashion + Design Accelerator (BF+DA), a Pratt Institute (US) initiative, is a hub of ethical fashion and design, providing resources to design entrepreneurs, creative technologists and professionals to turn ideas into businesses. Debera Johnson, founder and ED of BF+DA, also established the Center for Sustainable Design Strategies at Pratt Institute and has been integrating sustainability into art, design and architecture programs. She says, 'There are really three things that we're focused on doing. First - redefining the fashion industry around the environment and society...Second - we have production facilities open to designers. Our goal there is to be a local resource for sustainable production and to help educate designers about how to implement strategies around efficiencies and sustainable supply chain...The third and probably the newest part of what we're doing is becoming a research and design center for the integration of technology into smart garments and functional textiles - and, most importantly, with the idea of sustainability alongside it.' Regarding consumer perceptions, she says, 'Consumers need to decide whether they're more interested in saving pennies or saving the environment. Products that are quality are going to cost more. We just have to decide where we stand...At BF+DA, transparency is a big piece of how we do storytelling...' Regarding coming together of technology and sustainability, she says, 'The digitalization is one of them. I also think that biotech is creating really interesting materials in laboratories and not farms...Then you also have things like blockchain to help with traceability...And there's also nanofibers.' Read on...

GreenBiz: Moving the needle: Toward a more holistic and ethical fashion industry
Authors: Lindsey Strange, Katie Ellman


Mohammad Anas Wahaj | 21 oct 2018

According to the report by Prof. Anne Boddington (PVC of Research, Business & Innovation at Kingston School of Art, Kingston University, UK), 'Future of design education in India', India needs to produce 65000 designs annually to satisfy the capacity of indigenous creative industry. The current production is around 5000 per year. Prof. Boddington is working on the development of arts and design education in India and collaborating with Indian Institute of Art and Design (IIAD). She says, 'Design and Art as a field is emerging in India. There is not only a huge opportunity but also a sense of enthusiasm and can-do attitude in Indians for it. But to match-up to the emerging field, there is a need to train teachers first...A design teacher needs to make the student autonomous and increase their level of creativity and understanding.' She recommends that arts and design education should not be limited to creative fields, but should also become part of all fields of learning. She considers critical listening, research, and quality assessment are part of design and art curriculum. According to her, there is a great potential to create interdisciplinary programs where creative skills will be imparted as a part of foundation courses. Read on...

The Times of India: Why India needs new Art and Design curriculum
Author: Shyna Kalra


Mohammad Anas Wahaj | 30 may 2018

Australian fashion designer, Mark Liu, advises creative professionals to recognize the importance of studying STEM subjects (Science, Technology, Engineering and Maths) at school. He initiated 'Zero Waste Fashion Design' concept in which every piece of fabric is utilized in a fitting pattern. This process is contrary to the traditional linear pattern-making, which assumes a flat surface - with little account for the body's curves. Mr. Liu says, 'When you start pattern-making with zero waste, you really have to understand how it works to a really intricate level. Traditional techniques weren't really cutting it. I had to look at the underlying mathematics. And the more I looked, the more I found problems that mathematics had answers to but traditional pattern-making didn't.' He created 'Non-Euclidean' system of pattern-making that uses a technique called the 'Drape Measure' to record the curvature of surfaces as an angle measurement in order to create a more accurate design. Advocating STEM for creatives and designers, he also want 'A' for 'Arts' to be included to make it STEAM. Mr. Liu also supports and mentors students of International Grammar School (Sydney, Australia) emphasizing importance of maths. Ksenija Doic, design and technology teacher at school, says, 'They come into a creative subject thinking, 'Perhaps all I need is to have an idea, or be good with colours, or have an artistic side'. But what mathematics is useful for is the problem-solving part. The students who do maths find it easier to do the tasks at hand, because they have an innate knowledge of geometry, of working out curves and tangents.' Wynton Lambert, a student, says, 'Without some of the stuff I learned in maths, I wouldn't have been able to do the sleeve (of the shirt). It was very technical.' Mr. Liu considers STEAM to be the future and says, 'There’s this nice intersection between art and mathematics, and when they come together that's when really amazing things happen.' Read on...

SBS News: Why aspiring fashion designers should study maths
Author: Rena Sarumpaet


Mohammad Anas Wahaj | 24 may 2018

Design as a separate field is getting more recognition in India. Policy initiatives like 'Design in India' and 'Make in India' will give design further impetus and assist in creating a thriving design ecosystem. India now have 30 to 35 design schools, most of them came up in the last few years. Prof. Anirudha Joshi of Industrial Design Centre at IIT-Bombay explores the condition of design education in India and suggests ways to make it better and more in tune with industry. He lists prevalent gaps between academia and industry - what is taught in design schools and what a professional designer need to do - (1) Uninentional gaps: Things that left out in design curriculums. Course duration is shorter than what is needed to become a good designer. (2) Lack of industry/hands-on environment: Certain things are best taught in industry setup and academic setup doesn't suit them. (3) Intentional gaps: Design school is not supposed to prepare students only for industry. Focus is on developing thought leaders having theoretical concepts and not just skills and training. (4) Limited availability of design teachers. (5) Lack of strong tradition in design research. (6) Lack of design education infrastructure. There is demand/supply gap in terms of skilled human resources. As the industry is growing, at least five million designers are required as compared to the current approximately 20000 designers. Many sectors like manufacturing, small scale industries, small printing and publishing houses etc, although have need for designers but can't afford one in the present scenario. Moreover, the focus of current designs is more global and there are few instances of designs that are specific to the Indian market. More emphasis should be given to designers that specifically focus on India. Read on...

PrintWeek: Design education in India
Author: Anirudha Joshi


Mohammad Anas Wahaj | 23 feb 2018

Diversity and inclusion can be key to unlocking new ideas in creative disciplines. Current statistics suggest massive underrepresentation of minorities in design sector. According to the 2016 AIGA (American Institute of Graphic Arts)/Google Design Census, 73% of graphic designers are white, 8% are Asian, 7% are Hispanic, and 3% are African-American. This doesn't mirror the U.S. population, which, according to the 2016 U.S. Census, is 17% Hispanic, 13% African-American, and 5% Asian. Jacinda Walker, chair of AIGA's Diversity & Inclusion Task Force, is working to encourage diversity in design education, discourse, and practice. She is also founder of designExplorr that creates opportunities that expose youth to design. Her MFA thesis, 'Design Journeys: Strategies for Increasing Diversity in Design Disciplines' presents strategic ideas to expose African-American and Latino youth to design-related careers. She provides actionable steps that can be applied for building diversity in design fields - (1) Develop a Diversity Plan: Assess requirement. Set specific goals. Develop strategy. Evaluate. Read 'Designing for Diversity: Gender, Race, and Ethnicity in the Architectural Profession' by Kathryn H. Anthony. (2) Recruit Talent from Different Places: Seek niche online recruiting platforms that cater to underrepresented communities. (3) Hire Diverse Interns: Interns are potential employees. Target minority colleges to get them. (4) Use Diverse Imagery: Use diversity in marketing materials and website to attract minorities. (5) Visit a School to Talk about Design: Design educators emphasise the value of interaction of design professionals with students. (6) Mentor: Regularly meeting high school or college students to provide advice, guidance, and portfolio reviews is a necessary commitment. (7) Job Shadow: Allow students to come into the working environment so that they can observe, experience and learn in a professional setting. (8) Support Minority Business Enterprises: Build relationships with minority businesses and support them. Search them through special directories and databases. (9) Expand your Social Networks: Join various social media networks and explore special groups that focus on minority designs and designers. (10) Travel: Travel extensively and explore diverse cultures. It expands thinking and provides different perspectives. It builds emphathy and enhances creativity. Read on...

Fast Company: 10 Steps To Increase Diversity In Design Right Now
Author: John Clifford


Mohammad Anas Wahaj | 27 oct 2017

India's future success will be defined on the basis of how its positive elements like demographic dividend, IT and software, manufacturing, agriculture, government initiatives (Make in India, Digital India, Skill India, Startup India) etc, gel together effectively and grow. Adding to all these, focus on research, design and innovation, will further propel creation and development of new and emerging technologies and concepts. Specifically, Indian auto industry does have R&D capabilities, but it is mostly driven by foreign collaborations and partnerships. Moreover, Indian operations of most foreign auto makers rely on their global development centers when it comes to technological innovations. But the dynamics of the industry are shifting, and companies are mobilizing resources and assets towards design and development also, in addition to manufacturing. The change is also visible in the electric vehicle segment with a strong policy focus. Recent conference organized by NASSCOM and Autocar Professional was directed towards discussing the design, R&D and technology based future of the industry. Sameer Yajnik, COO-APAC of Tata Technologies, says, 'Indian engineers, thus far, have brought together just a few parts of the jigsaw puzzle in terms of vehicle development, but this is set to be transformed. With EVs, ADAS, autonomous, connected cars, et al, there are a slew of technology-driven changes that need to be responded to and India is an excellent place.' Patrick Newbery, Chief Digital Officer of Global Logic, says, 'Design and engineering work best when coupled together, and the Indian start-up ecosystem has displayed a good show of that already...Amalgamating design and engineering, as well as with its ability to innovate and create as a response-stimulus to change, India holds a strong place in developing new future technologies, where even the US would be looking outside to outsource these innovative solutions. There is more likelihood of innovation coming out of such environment.' Current spend in automotive engineering and R&D of Europe is 35%, that of US is 25% and, India's is at 10%. This is expected to triple in next 3 years. Sanjeev Verma, CEO of Altran India, says, 'India holds a very important place in the whole jigsaw and especially can play a great role in designing passive safety and IoT systems...With the whole ecosystem springing up now, the next three to four years are going to be extremely transformational for the development vertical in the Indian automotive sector.' Commenting on design in India, Raman Vaidyanathan of Tech Mahindra says, 'Indian engineering is bound to be more frugal, compared to the rest of the world because of the country’s legacy in being cost conscious. This is very positive as it implies that a good quality product, designed and developed to a cost in India could be produced in the emerged markets, while the reverse is going to prove rather expensive.' The challenge of skilled human resources in design and engineering in India remains. NASSCOM has started a foundation course in integrated product development that has reached 1000 colleges since CY2015. Government, academica and industry has to come up with integrated strategies that need to be applied to upgrade the knowledge and skills of graduates coming out of technology institutes and ensure success of design, research and development in India. Read on...

Autocar Professional: Beyond Make in India - Design and develop in India now imperative
Authors: Sumantra B. Barooah, Mayank Dhingra


Mohammad Anas Wahaj | 09 sep 2017

Education and learning has to keep pace with the happenings in industry, and equip students with the cutting-edge knowledge and skills, to assure their success in the highly competitive marketplace. Simon Biggs, Education Liaison Officer for Wales at Renishaw, explains how 3D printing is the new technology that is becoming mainstream part of the classrooms for engineering and mathematical learning. Mr. Biggs says, '3D printing is a well-established industrial technology for prototyping and manufacturing, particularly popular with the aerospace and defence sectors. Also known as additive manufacturing (AM), 3D printing is the process of making a solid 3D object from a digital computer aided design (CAD) file...3D printing is a rapid production method with minimal waste material. Its design flexibility means users can manufacture bespoke objects for a low cost...Understanding and using this growing technology can benefit children's learning, particularly in science, technology, engineering and mathematics (STEM) subjects but also beyond these more traditional fields in music, design technology, history, geography and biology...Exciting and innovative projects are also a simple way to keep pupils engaged in STEM subjects, which is a vital step forward in addressing the STEM skills shortage.' Explaining the rise of 3D printers in schools and their use to develop new skills in students, he says, 'The increasing numbers of 3D printers in schools is not only due to the increasing recognition of 3D printing being a relevant and engaging educational tool, but also relates to the number and availability of low cost 3D printing machines...Advances in resources available for teachers and other education professionals are also making 3D printing more widely accessible...Using 3D printing as a production method enables students and pupils to move from the conception of an idea to producing a physical object with relative ease...Interrogating a physical object can make it easier for pupils to spot mistakes in designs. This allows them to gain valuable problem solving skills in a creative, hands-on way.' Read on...

The Engineer: The future of 3D printing in education
Author: Simon Biggs


Mohammad Anas Wahaj | 29 aug 2017

Students often take part in initiatives outside of the structured academic curriculum and pursue their independent learning interests. They create common interest clubs, publish magazines, develop websites etc. Architectural education is an area that demands continuous stream of ideas and creativity. Digital world of collaboration and speed sharing, and reaching out to wider audience is giving new meaning to student-driven platforms. KoozA/rch, Bartlett's Lobby, AA Files (Architectural Association's Journal), Yale School of Achitecture's Perspecta are some examples. Sabrina Syed, Co-founder of Volume64, shares the story of their design platform (Volume64) that evolved out of conversations among students. She explains, 'We test different micro-typologies and challenge architectural norms through our drawing experiments: isometric cubes of 4x4x4 meters - coined the CubeLab. In one season, around 50-70 drawings are produced by a constantly changing team of contributors. Our collaborators write, curate, and edit briefs which our team of contributors (regular and visiting) respond to in drawings that get released in 2-week installments, with 5-6 briefs marking a season...The idea of Volume64 was sparked when our co-founder Lloyd Lee attended a workshop on diagrams during his first term at the Architectural Association.' Mr. Lee says, 'What can we do without the decades of practical experience and necessary compromises in architecture? Can there be a space dedicated purely to the experiments and drawings resulting from this line of questioning? Volume64 finally came to light as we continued our conversations from these questions.' Ms. Syed further explains, 'Challenging everyday spaces, and thus questioning the perception of architecture, became the motivation behind Volume64. The idea of a platform developed: To express these small exercises that could challenge existing rules without the limitations of academic or professional submissions...Volume64 is run by a group of students in their final years of architecture education. Currently, our team members are from the Architectural Association, the Bartlett School of Architecture and the Edinburgh School of Architecture (ESALA). Collaboration is at the heart of the platform.' Jonathan Wren, Bartlett School of Architecture M.Arch, says, 'Cross-school collaboration has encouraged very different takes on similar briefs. [It creates] a lot of cross--fertilization of ideas, approaches, and methods that go beyond speaking with friends at other schools, reading about others' work or visiting degree shows.' Henry Schofield, Bartlett School of Architecture M.Arch, says, 'Volume64 is an essential tool for architecture students to not only exercise their ability to think and question but also to share and engage in a dialogue with their fellow contributors, in order to produce productive architectural content that contributes to the critical discourse of the platform...' Read on...

ArchDaily: This Student-Run Website Is Experimenting With Architecture Through Cubes
Author: Sabrina Syed


Mohammad Anas Wahaj | 30 jul 2017

According to 'Instructional Design Report 2016' funded by the Gates Foundation, there are 13000 instructional designers in US. The field is increasing in popularity as online education proliferates and the need to translate content into digital forms rises. Designing online learning experiences is becoming essential training employees, mobilizing customers, serving students, building marketing channels, and sustaining business models. Instructional design has deep roots in distance education, human computer interaction, and visual design. ontemporary instructional design sits at the intersection of three core disciplines: learning science, human-centered design, and digital marketing. Following are some lessons and resources for those starting out in the field of instructionl designs - (1) Start with a deep understanding of your learners: Start by developing an Empathy Guide similar to one put together by Stanford d.School or reviewing the free book 'Talking to Humans' by Giff Constable; Conduct observations and interviews with target learners; Synthesize finds into learner archetypes; Test instructional concepts and product ideas by building rough prototypes; d.School 'Protyping Dashboard', Design Thinking process courses by IDEO.org or free resources offered by IDEO's Teacher's Guild. (2) Ground yourself in the fundamentals of learning science: Research on learning and teaching; 'The ABCS of How We Learn', a 2016 book by Daniel Schwartz; 'How People Learn', the 1999 foundational text edited by John Bransford, Ann Brown, and Rodney Cocking; Online Stanford lectures on Education's Digital Future. (3) Determine the 'powerful ideas' you want to teach and build your curriculum using backwards design: For education technology read Seymour Papert's 'Mindstorms: Children, Computer and Powerful Ideas'; Then use 'Understanding By Design Framework' (ascd.org) to structure your curriculum. (4) Go study other great teachers and other great learning experiences: altMBA program by Seth Godin that runs using Slack; Angela Duckworth's delivery of messages on camera; Animations produced by Amnesty International; Interactive lessonas produced on Oppia; Screen-based technologies produced by groups like Paulo Blikstein's Transformative Learning Technologies Lab; Explore multiple approaches from diverse instructional materials available online. (5) Get a lay of the technological landscape, but don't let your LMS hold you hostage: Get familiar with various platform options, particularly with most popular ones - Coursera, Udacity, Udemy, and EdX; Check out the list of global MOOC platforms curated by Class Central; Read some critical perspectives from the likes of Digital Pedagogy Lab or the MIT Media Lab; Check out the blogs of online learning pioneers like Connie Malmud. (6) Don't try to migrate an in-person experience into an online format: Read 'Rethinking Education in the Age of Technology' by Allan Collins and Richard Halverson; Explore perspectives and research of Mitch Resnick and the late Edith Ackermann of the MIT Media Lab. (7) If you build it, they won't come. Understand the fundamentals of digital marketing: Check out blog post of Alex Turnbull (Founder of Groove) that explains 6-step marketing strategy for selling online course; Udemy has also created a great toolkit to help online course instructors market their learning experience. (8) Collect student feedback. Iterate. Share what you learned. Read on...

EdSurge: A Starter Kit for Instructional Designers
Author: Amy Ahearn


Mohammad Anas Wahaj | 29 may 2017

Design influences every aspect of human life. Pradyumna Vyas, Director of NID-Ahmedabad (India), says, 'From the minute you wake up and pick up your brush to the time you retire to bed, there is design touching your life every minute.' Sanjay Dhande, former Director of IIT-Kanpur and founder of Avantika University, says, 'Our education, curricula, pedagogy and assessment is all outdated. Avantika University will have courses like liberal arts, body and mind, creative arts and the like. Even economics and management will be taught keeping design in mind.' According to a report, 'Future of Design Education in India' by India Design Council and British Council, 'The market for design in India is expected to touch Rs 18,832 cr by 2020...Only a fifth of the design market is currently tapped.' A design industry survey finds that 57% of design school graduates find jobs with large and medium-sized businesses, with small and medium-sized enterprises employing about 17% of the students. Nearly 13% of D-school graduates work for individuals, 9% work for public sectors and 8% join academic institutions. Apart from the traditional architecture, interior, arts and crafts etc, there more newer design areas for career opportunities - Social Design; Industrial Design; Space Designing; User Interface (UI) and User Experience (UX) [Tangible Interactions]; Doodling. Nandita Abraham, CEO at Pearl Academy, says, 'Today , especially for young people, doodling has become a language and a way of communicating with each other expressively.' R. Sandesh, Associate Professor at Industrial Design Centre (IIT-Bombay), says, 'Design is an overarching discipline.' Read on...

The Times of India: No more offbeat - Careers in design define our lives
Author: Hemali Chhapia


Mohammad Anas Wahaj | 19 may 2017

According to design experts at 'ASEAN Creative Cities Forum and Exhibition' (Philippines), creative industry plays an important role in a country's economic growth. Some of the experts that participated include Prof. John Howkins (Author of the book 'The Creative Economy'), Nora K. Terrado (Chairperson, ASEAN 2017 Committee on Business and Investment Promotion-CBIP), Paolo Mercado (Nestle Philippines), Andrew Erskine (Tom Fleming Creative Consultancy), Katelijn Verstraete (British Council East Asia), Kenneth Cobonpue (Philippines), Anon Pairot (Thailand) and Colin Sean (Singapore). Ramon Lopez, Secretary of Department of Trade and Industry (DTI), says, 'The goal of the event is to channel these (creative) assets into innovation , employment, trade opportunities, and mobilizing it to drive each of the economies in the whole Southeast Asian region.' Rhea Matute, executive director of Design Center of the Philippines, says, 'We really are committed to develop the creative quotient of the Philippines...This is really an important opportunity by which our designers, our creatives, can branch out beyond our borders to have a more open system of having dialogue with our ASEAN partners in view also of the ASEAN integration.' Moreover, the event was also intended to initiate a movement to have at least one Philippine city to be a member of the UNESCO Creative Cities Network (UCCN). UCCN currently have 116 cities from 54 countries covering seven creative fields: Crafts and Folk Art, Design, Film, Gastronomy, Literature, Music and Media Arts. It's goal is 'to promote cooperation with and among cities that have identified creativity as a strategic factor for sustainable urban development.' Following are some takeaways from the forum: (1) Working in the creative industry is a lucrative career. (2) The road to success is challenging yet fulfilling. (3) Always look around you, and be original. (4) Standing up with your decisions. (5) Government plays a big role in developing the creative industry. (6) School plays an important role, too. According to Colin Seah, Singapore-based architect and Ministry of Design's Founder and Director, 'At the school level, I'm not saying you need to train everyone to be a creative but if you introduce design education at an early stage, then what you do is two fold - you unlock any potential for people who may be seeking these professions. Secondly, you train and educate people who will eventually become patrons and consumers...then it becomes a cycle. You have good creatives, and you get people who can pay for creatives.' Read on...

InterAksyon: ASEAN Forum - Creativity is the driving force in economic growth
Author: Romsanne Ortiguero


Mohammad Anas Wahaj | 26 oct 2016

Design is critical for national and industrial competitiveness. Prof. Sanjay Dhande, former director of IIT-Kanpur and chief mentor of design-centered Avantika University, explains the value of design in India's competitiveness for manufacturing and service industries, analyzes the evolution of design education and suggests how India can further develop design education to impart skills and training, and nurture creative talent that keeps it at the cutting edge of innovation and design. He says, 'By incorporating design, which by and large shapes our ideas better is inherent in our every act. We design, we create experiences to make the life of individuals more comfortable, information readily available, work more efficient, spaces more convivial, and in turn making peoples' life more meaningful...The government of India has initiated a consultee approach with industry and designers to develop the broad contours for a combined vision towards a design enabled Indian industry.' National Institute of Design was first setup in 1961 by Government of India based on the report on design education developed by American industrial designer duo Charles Eames and his wife Ray Eames. Since then, to fulfil the demand of growing design professionals, number of institutes have come into existence over the years, giving rise to a thriving design ecosystem. But to maintain high quality of design education is an obvious challenge. According to Prof. Dhande, 'Though with a faster-changing world even the standards in design education are very high. And the question remains around how can we remove the loopholes and sustain a high-quality education from a conventional structure?...There is a growing need to eradicate the redundancies in the traditional course curriculum. A strategic streamlining of the education structure which offers practice exposure encourages focussed learning is much required.' He suggests continously evolving and innovation directed approach to design education, starting with admission process, practical learning, quest for right faculty, learning environment and a specialization focus. He concludes, 'Innovation is essential to be able to adapt to, for creating that difference in Indian design education to help students work better in unpredictable market conditions and intense global competition. Incremental improvements by themselves will not do and hence the listed points will help address improve the quality of design training in India.' Read on...

Your Story: How to impart quality design education in India
Author: Sanjay Dhande


Mohammad Anas Wahaj | 20 jun 2016

Designers need continuous flow of creative ideas and motivation in their work. Sometimes they reach a state of creative block when they lack internal motivation and inspiration to generate ideas. In such situations an external source of inspiration would be of assistance. Following are 8 online resources for designers that can provide the spark of creativity and rekindle inspiration - (1) Designspiration: A design portal that has architecture, typography, illustrations and print. Features the work of global artists and innovators. (2) Dribbble: A hub for creatives to connect, share and inspire one another. Includes typography, website design, logos, illustrations and graphics. Designers can also be hired through the site. (3) Awwards: Recognizes best designed website from around the world. Jury comprises of renowned designers, bloggers and agencies. It rates websites and gives score comprised of different elements, including creativity, design, content and usability. (4) Siteinspire: Has some of the best filtering of any design portal. Can choose from multiple categories, and follow designers and their work. (5) Smashing Magazine: Includes editorial and professional resources for designers and developers. Have blogs from designers. (6) The Best Designs: Includes web design works of best designers. Helps find, connect with and share work with other designers. (7) Behance: Have archives of graphic design, photography, interactive design, art direction, illustration and more. (8) Adobe Kuler: As color is one of the most important aspect of design, Adobe Kuler can help one share, create and browse color schemes from designers and users around the world. Read on...

Business 2 Community: 8 Incredible Online Resources for Creative Design Inspiration
Author: Brittney Ervin


Mohammad Anas Wahaj | 11 may 2016

Online education is continuously evolving and over the years have gone through many iterations. In recent years, MOOCs (Massive Open Online Courses) have been trying to change and tranform online education with active involvement of traditional education providers and their expanded reach to global learners. Although, inspite of their popularity with millions of users, providers are still struggling for success as the learner drop-out rates are high. Instructional designers, faculty members and education providers are experimenting with improvements in learning design environments to provide better value to learners. Prof. Curt Bonk of Indiana University is the author of the book, 'The World is Open', and conducts research in the field of self-directed open learning environments and online motivation. According to him, 'The MOOC is just one idea of many that are causing us to reflect on changes in higher education today. There are a lot of derivatives of MOOCs, and there will continue to be more. Community-building, sharing and peer support are three key aspects of success in building new types of course experiences.' In a video chat hosted by consultant and futurist Bryan Alexander, Prof. Bonk shares his own online learning experiences, his research and explores trends in the design of open courses. He says that in future, the majority of learning is going to be informal and self-directed. But government is still emphasizing on traditional education and less attention is paid to adult learning and informal learning. To better design learning environments it is important to understand self-directed learners and their experiences. According to him, 'Professional development could be what changes the discussion around open education and MOOCs. This could be for doctors, dentists, lawyers and physical therapists. They could take modules in the summer at their own leisure as part of a cohort that does community-building. That is the game changer.' He emphasises on a feedback process, collaborative approach, continous design improvements and redesign, if the need be, for better online course development. Commenting on faculty and their use of technology, he says, 'Instead of focusing on the technologies themselves, focus on what the faculty members want to do to foster feedback, goal setting, relevance or autonomy.' On using videos in learning, he says, 'We are moving from an age of Wikipedia to Videopedia.' Read on...

Campus Technology: The Keys to Designing Successful Open Course Experiences
Author: David Raths


Mohammad Anas Wahaj | 22 dec 2015

Design education promises to inculcate and enhance creativity within students and equip them with skills to build and develop products, services, spaces and environments in diverse industries. Given below is the select list of America's top design academics and educators from the disciplines of architecture, industrial design, interior design and landscape architecture, that was created with inputs from design professionals, academic department heads and students - Amale Andraos (Architecture, Planning & Preservation at Columbia University); Alan DeFrees (Architecture at University of Notre Dame); Dawn Finley (Architecture at Rice University); Steve French (Architecture at Georgia Tech); Geraldine Forbes Isais (Architecture & Planning at University of New Mexico); Charles Graham (Architecture at University of Oklahoma); Aki Ishida (Architecture & Design at Virginia Tech); Kent Kleinman (Architecture & Interior Design at Cornell University); Sharon Kuska (Architecture & Civil Engineering at University of Nebraska); Alison Kwok (Architecture at University of Oregon); Mohsen Mostafavi (Architecture & Design at Harvard University); Daniel Nadenicek (Planning & Landscape at University of Georgia); Guy Nordenson (Architecture & Structural Engineering at Princeton University); Juhani Pallasmaa (Architect & Lecturer from Helsinki. Visiting Professor at Washington University in St. Louis & University of Illinois at Urbana-Champaign); James Rose (Architecture & Design at University of Tennessee); Hashim Sarkis (Architecture & Planning at Massachusetts Institute of Technology); Jeff Shannon (Architecture at University of Arkansas); Robert Shibley (Architecture & Planning at SUNY Buffalo); Christine Theodoropoulos (Architecture & Environment Design at Cal Poly San Luis Obispo); James Timberlake (Architecture at University of Pennsylvania); Ada Tremonte (Architecture & Interior Design at Drexel University); Rod Underwood (Architecture &' Planning at Ball State University); Adam Wells (Architecture at University of Houston); Jim West (Architecture, Art, & Design at Mississippi State University); Keith Wiley (Architecture & Environmental Design at Cal Poly San Luis Obispo). Read on...

DesignIntelligence: 25 Most Admired Educators for 2016
Author: NA


Mohammad Anas Wahaj | 18 dec 2015

Although government of UK states that the creative industries in the country now equal £76.9 billion per year, and the design sector seeing the biggest growth. But there is another debate brewing in UK regarding the condition of design and creative education. According to John Sorrell, founder of London Design Festival and Creative Industries Federation, 'Schools in UK saw a 50% decrease in students taking design and technology GSEC (General Certificate of Secondary Education) subjects in the 10 years leading upto 2013, and 25% drop in other craft-related GCSEs between 2007 and 2013.' He says that the government is reducing investments in creative education that would eventually lead to inadequate development of the next generation of creative talent. He explains, 'It is the government's calling card everywhere in the world...it's this amazing work we're part of which makes Britain so loved by the rest of the world - our creativity.' He further adds, 'If we can get our act together and work together we can take advantage of the opportunities in international development that certainly China is going to be doing in the next 20 years.' Similar sentiments were recently voiced by this year's London Design Medal winners, Edward Barber and Jay Osgerby, who said 'UK government doesn't value the role of creativity.' Another angle to this debate was provided by inventor James Dyson, who criticized the UK government's steps regarding the foreign students to return home after completing their education. This immigration plan will threaten UK's status as a global design and architecture center. Read on...

dezeen: Design education in the UK is being "marginalised" says John Sorrell
Author: Dan Howarth


Mohammad Anas Wahaj | 05 dec 2015

US-based Association of Collegiate Schools of Architecture (ACSA) while describing the goals of architectural education explains, 'As a professional discipline, architecture spans both the arts and the sciences. Students must have an understanding of the arts and humanities, as well as a basic technical understanding of structures and construction. Skills in communication, both visual and verbal, are essential. While knowledge and skills must be developed, design is ultimately a process of critical thinking, analysis, and creative activity.' Prof. Akhtar Chauhan, Director of Rizvi College of Architecture (Mumbai, India) and founder president of International Association for Humane Habitat (IAHH), provides architectural students his views, discusses various aspects of architectural education and suggests what the education system should look for to create professionals who can work cohesively and sustainably for the future. ON CURRICULUM AND CLASSROOM LEARNING: 'Each student is encouraged to find his or her own expression through creative exploration...several electives are included which provides colleges with opportunities to experiment, explore and evolve their distinctive philosophy. Here at Rizvi, we are concerned with issues of sustainable architecture, affordable housing, appropriate and innovative technology and humane habitat.' ON ACADEMICS AND STUDENTS: 'You are likely to find the dreamers and the rebels. The dreamers create new kinds of environments. The rebels are the ones who want to change the world and look at every aspect of academics accordingly...since students in architecture are generally stressed with creativity, they are more involved in the process of self discovery over marks.' ON SOFT SKILLS: 'These are integrated within the curriculum...It is imperative for students of architecture to learn to express themselves through different mediums, including model making, photography, design, films, and so on.' ON CHALLENGES FACED BY STUDENTS: 'For those getting into first year, the environment change is huge...They need to unlearn those old methods at every step and adopt a new approach which is much more creative and open-ended...Due to emphasis on creativity, almost every student struggles initially to find his or her own expression. And students soon realise that this becomes a lifelong struggle.' ON BALANCE BETWEEN INDIVIDUAL CREATIVITY AND CLIENT'S NEEDS: 'Creating something for a client is a two-way process and every student should try and develop solutions for spaces...Students should think about the environment, sustainability, and aesthetic expression so that their architecture contributes a pride-level in society.' ON FINDING INSPIRATION: 'Nature itself is a great source of inspiration. Students can also look upon the great role models, architects like Charles Correa, Achyut Kanvinde, Christopher Benninger and Laurie Baker...At institutional level, they can approach architecture societies, associations and networks for advice, consultation and guidance.' Read on...

The Free Press Journal: "To create and innovate, you can't rely on copy and paste!" - Prof. Akhtar Chauhan
Author: Shraddha Kamdar


Mohammad Anas Wahaj | 19 may 2015

Today's architects require knowledge and expertise of architecture-focused technology tools and softwares to stay ahead of the curve. Moreover they have to continue to upgrade and update their skills through variety of courses and tutorials available through traditional educational institutions, corporate training programs, paid online courses and free tutorials on internet. ArchDaily has compiled a categorised list of online tutorial websites that offer learning of architectural softwares - (1) General Purpose Tutorial Sites: Lynda.com (Online courses and video tutorials site); Visualizing Architecture (Alex Hogrefe has created a comprehensive list of tutorials for creating compelling images. Most techniques can be achieved using SketchUp and Photoshop); Ronen Bekerman's Blog (Provides case studies. Showcases their own work, explaining how they created a single render from the modeling stage to post-production). (2) Pre-Production (Modeling, Drawing and BIM): Autodesk's Youtube Channel; Bond-Bryan BIM Blog by Rob Jackson; Nick Senske on Youtube; Jose Sanchez's tutorials at Plethora Project on Unity3D game engine, Autodesk's Maya software, C#, Python and Javascript and also Rhino and Grasshopper; NYCCTfab on Vimeo (Tutorials by New York City College of Technology's Department of Architectural Technology Fabrication Lab, on Revit, Rhino and Grasshopper). (3) Production (Rendering and other forms of image creation): Simply Rhino Webinars; V-Ray Website. (4) Post-Production (Adobe Photoshop and other image manipulation software): Vyonix Tutorials; ARQUI9 Visualisation on Youtube. Read on...

ArchDaily: Architecture Software Tutorials - Which Are The Best Out There?
Author: Rory Stott


Mohammad Anas Wahaj | 03 mar 2015

In addition to just aesthetics, architects are now applying neuroscience, by studying how brain reacts to various environments through brain scanners, to design schools, hospitals, community spaces etc. Eve Edelstein, president of consulting firm Innovative Design Science, says 'Understanding the power and significance of design is not a luxury. It has a direct impact on wellness issues and a direct influence on activity within that space.' According to Betsey Olenick Dougherty of Dougherty + Dougherty Architects, 'Visual access to sky, trees and landscape stimulates brain function. Providing vistas throughout the facility and particularly in classrooms has been a major strategy in the design of this building (Corona del Mar High School, Newport Beach, California).' Justin Hollander, co-author of the book 'Cognitive Architecture' and urban planning professor at Tufts University, says 'Patterns matter. And edges matter. The research argues that not only do we need order but our brain likes hearing stories...When you go to Times Square, you're told a story. You go to Disneyland, it's a story.' He further adds, 'Humans have a clear bias for curves over straight or sharp lines. Studies have shown that curves elicit feelings of happiness and elation, while jagged and sharp forms tend to connect to feelings of pain and sadness.' Hospitals and care centers are now being designed based on how brains of Alzheimer's patients reacts or how lighting affects patient's sleep cycle. Neuroscience shows light triggers brain reactions far beyond vision. 'It has an impact on heart rate.' says Edelstein. Michael Arbib of University of Southern California Brain Project and the vice president of the Academy of Architecture and Neuroscience, says 'Smart architecture can learn from brain science. To use artificial intelligence to build buildings that can better interact with people...is going to be very applicable to a home.' Read on...

Al Jazeera: Smart buildings- Architects using brain science for design guidance
Author: Haya El Nasser


Mohammad Anas Wahaj | 06 sep 2014

From Henry Ford, to whom manufacturing efficiency was paramount, to Steve Jobs, who valued the working of a product over its looks, design has always been an important component of the products delivered to consumers. During craftsmen era, individuals both designed & created the products. Industrial revolution focused on multiple specialized processes to finish products in large quantity with little room for errors. Autodesk pioneered computer-aided design (CAD) software, to enhance collaboration among highly skilled teams of designers, engineers etc. But today design is becoming critical for product performance and everybody needs to have a basic understanding of design. Autodesk is now promoting design literacy and participating in its democratization process. The gap between design, production and distribution is narrowing with technologies of sharing & collaboration, 3D printing etc and in future it will totally disappear. In the design economy the firms will have to perform in real time and the design will become the product itself. Autodesk predicts the demand for STEM (Science, Technology, Engineering, Maths) professionals will rise to 8.65 million in 2018. It created 'Design the Future' program to fulfill this demand and provides free software to students and curricula & training to educators. Diego Tamburini of Autodesk says, 'design no longer just applies to physical systems, but has permeated to other non-physical areas such as software, services, and the overall "emotional experience" of using a product that also require designers.' Read on...

Forbes: Why Autodesk Is Investing In The Democratization Of Design
Author: Greg Satell


Mohammad Anas Wahaj | 27 nov 2013

Article explores the design philosophy of Randy Pausch and the importance of collaboration in design. It mentions the three most important lessons from his design concepts - (1) Test early, test often (Get people to try your work early on, and simply observe and watch what they do without interference. It can uncover product flaws and assumptions quickly); (2) Stop being nice, start being helpful (Give and receive straight and honest feedback. It is an important ingredient of a helpful approach to mentoring and leadership); (3) Designers are shepherds (Design is centered around collaborative problem solving. Randy Pausch's tips in this regard - Check your ego at the door, Let everyone talk and Praise each other). Being a great designer means championing a design vision and process, aiding collaboration and shepherding the design decisions forward. Read on...

Gigaom: Beyond 'The Last Lecture' - Design lessons I learned from Randy Pausch
Author: Ross Popoff-Walker


Mohammad Anas Wahaj | 28 oct 2013

'Design Fiction (DF)' is a design concept that envisions an imaginary future and builds objects around it. DF is part of the design process and designers often use fiction as a starting point to create their work. Author, Matthew Ward, who teaches design at Goldsmiths (University of London) suggests the use of DF in the design education and advocates that it should be a critical part of the curriculum. He proposes a preamble of a manifesto towards a design education that embraces and interrogates the role and importance of fiction in design - (1) All design is ideological (2) Fiction as a testing ground for reality (3) Re-inscribing behavior and responsibility (4) The decisions you make have consequences: prototype them in the stories you tell (5) Normalize to persuade (6) Make space for experimentation (7) Think through making (8) Things that work don't create interesting stories (9) Build from ideas to aesthetics (10) Things live in their interaction with their context (11) People are the protagonists in the production of reality (12) Craft the narrative (13) Don't mistake the training for a race (14) Understand what your fiction is doing in reality. Read on...

Medium: Design Fiction as Pedagogic Practice - Towards a fictionally biased design education
Author: Matthew Ward


Mohammad Anas Wahaj | 04 jul 2013

A school in US is utilizing 'Design Thinking', concepts developed at Stanford University, to create learning schedule and classes for students to prepare them to adapt to the changes happening in the world. Design thinking starts with empathy and then to brainstorming of possibilities, then to design and testing of prototypes and finally to formulating a solution. According to the principal of the school, design thinking is a teaching and learniing tool that helps students develop skills like creativity, innovation and adaptation. These skills will better equip students to meet the challenges of the future. Moreover students are provided with iPads for information and learning purposes and are taught the responsible use of technology tools and ability to differentiate between the reliable and unreliable sources of information. Read on...

MIT Technology Review: Redesigning Product Design
Author: Renee Batti

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