Next Generation
Creative Jammers: A Corporate-Sponsored, Multi-University, Cross-Disciplinary UX/UI Event View Digital Media
Paper Presentation in a Themed Session Anthony Acock, Sam Anvari, Zachary Vernon
In 2019, CSU Los Angeles, CSU Long Beach, and Cal Poly Pomona—supported by Adobe—held a 36-hour event in which multi-disciplinary student teams created mobile app prototypes designed to solve a problem related to the issue of immigration. The event, Adobe Creative Jam Live, was held simultaneously across the three campuses, and involved teams working together to propose an interactive solution for the proposed problem. Students used Adobe XD to make interactive prototypes of a mobile ap. Over 130 students participated across 26 teams. Adobe, worked to provide technical support, guest speakers, tutorials, and two rounds of peer review for the final projects. Ultimately, the winning teams received monetary prizes, bragging rights, and the opportunity to receive feedback from industry leaders across the country. In this paper we write about our experience working with corporate sponsors within working class and uniquely diverse institutions. We address common pitfalls with industry/academe partnerships, and discuss how we overcame these tropes to provide a meaningful learning experience. We write about the project brief for the Creative Jam, immigration, and how our campuses are uniquely qualified to tackle this issue due to their classifications as Hispanic Serving Institutions. This study discusses how interjecting divergent universities—in this case, three California State public universities—into a common project can result in exemplary opportunities for academic, professional, and community engagement. We address how corporate partnerships can not only exist within academe but flourish and provide real peer reviewed research opportunities in an undergraduate design curriculum.
Aesthetics of Design Processes and Their Role in Educational Models of Tomorrow
Paper Presentation in a Themed Session Andreas Sicklinger, Mirko Daneluzzo
Google Designer Matías Duarte explains that, "unlike real paper, our digital material can expand and reform intelligently. Material has physical surfaces and edges. Seams and shadows provide meaning about what you can touch." Morphology and esthetics are the basic components for a successful design language. How to define a form in design, underlies different methods, rules and proportional studies, as well as material characteristics and surface treatment. The maxim form follows function is a principle associated with twentieth-century modernist an object should primarily relate to its intended function or purpose. It has been influenced for decades the form giving decisions. The product was a hardware, it’s form was determined by the function and often by the dimensions of a mechanical core. But production, either industrial or craft, has changed; new technologies progressively invade the market using new materials, offering always higher performance, and higher speed for the appreciation of the user. And the world has become timelessly digital, everything is at the same time everywhere available. Design has become a process rather than a definition of a form, has become a service rather than a function. But the “traditional” values of design: morphology, aesthetics, semiotics and sensorial qualities still distinguish the discipline from other disciplines like (Software) Engineering, Mechatronics or Robotics. This paper investigates how these values still dominate the design process, and how educational models can drive the required change of knowledge for a new generation of designers.
Interior Design Through the Eyes of the Graphic Designer and the Investigation of Graphic Design Department Renewal Project View Digital Media
Paper Presentation in a Themed Session Dilek Erdoğan Aydın
When observed by the graphic designer, the process of graphic design and interior design are quite similar. Both areas apply the rules of defining the problem, and producing ideas and solutions according to the defined problem, and have a direct effect on the masses. Aesthetics, functionality, consistency, sustainability are crucial for both areas of design. This paper examines the department renewal of Anadolu University Faculty of Fine Arts Graphic Design Department, focusing on graphic design, interior design process, and the constraints and necessities that effect the overall design. The significance of this project is the fact that the designed space is in fact a department of graphic design, therefore while investigating this project, the answer to the question “how should a design school be like?” is examined. The differences and benefits between the space before and after the renovation will be argued as well as the processes and solutions between graphic design and interior design will be researched. The effects of the space on its habitants will be observed. The significance of identity design and information design is discussed, while the implementations on the project will be exemplified. The relationship between people and space is crucial. The space in which a person lives shapes their being, their lives, their thoughts, and their mood. So how does the designer/human shape the space when it is viewed as a design problem, also with the fact that the subject is a graphic design department?
Teaching Information Systems Design in the Digital Age
Paper Presentation in a Themed Session Jeffry Babb, David J. Yates, Leslie J. Waguespack
The importance of teaching design in higher education has increased since Dunne and Martin’s article on design thinking in management was published more than a decade ago. More recently, the importance of teaching design has received greater attention in fields such as information systems and computer science. Because information systems and technology are changing so rapidly in the digital age, we advocate for adopting a socio-technical perspective in teaching design that reminds students that design is fundamentally a human (and humane) activity, even in a computing discipline. This is perhaps best expressed by Heskett (2002), who describes design as “the human capacity to shape and make our environments in ways that satisfy our needs and give meaning to our lives.” We further argue that in assessing design quality, as we teach -- and continuously learn -- design, requires a deep understanding that design quality is emergent and also that satisfying needs and creating meaning in the final analysis are incomputable qualities. Lastly, consider that, as the machines we design in computing continue to assist, offset, and offload extant pursuits of human endeavor, design could be the last domain and frontier in which humans are truly suited. This is because design allows for mutation and accident to resonate in ways that deterministic and algorithmic processes may not. Thus, we explore that design may be among the greatest human competencies as a computing-human partnership evolves.
