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PULSED MAGAZINE DESIGN BASED LEARNING

N r. 2-2018 Versie 1.0

EN

pulsed you are a designer

Introduction Against the background of a changing society you will be guided through a new approach of education that will make sure that the role of education needs to develop in parallel. The urgency of design thinking is made clear by looking at the generational changes against the background of the rapidly changing society. The explanation of Design Thinking is then linked to Design-Based-Learning and other educational elements that play an important role in the development and implementation of education that has to deliver future proof students.

When you read this magazine, you are interested in how Fontys PULSED applies Design-Based-Learning in daily educational practice in an evidence-informed way. The approach is developed by making use of both scientific and practice-oriented experiences. Fontys PULSED also strives to always improve the approach, preferably by continuing asking questions, but also involving other people in the development and implementation of the teaching modules.

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TABLE OF CONTENTS 1. Education is life itself

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Complex issues Generation development Translation into education

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2. Design thinking

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The evolution Key features of Design thinking Design thinking & the learning process

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3. Design-Based-Learning

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Starting point of learning Learning by doing Reflective learning Life-Long-Learning Freedom without commitment Complementary Conclusion

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1. EDUCATION IS LIFE ITSELF

1. Education is life itself The world is on the move. One technological innovation after another offers new opportunities in a society with ever greater challenges for the future. Brainport, with the city of Eindhoven in the center, is a world-class technological region. Collaboration and knowledge sharing is in its DNA. In the transition to a learning economy, application of that knowledge becomes increasingly important in an unpredictable world. In order to be able to keep developing as a professional, adaptability is crucial. New requirements are constantly being imposed on future generations: social developments require flexibility, creativity, social entrepreneurship and adaptability.

The current liquid society seems to have less structure and fixities than was the case a few years ago¹. Zygmunt Baumann sees society as a network in which more and more farewell is taken of solid structures and hierarchy. Through technological innovations, people are worldwide connected to each other, knowledge is spreading faster than ever. In our increasingly complex society, solving complex issues that arise within becomes² increasingly relevant.

Take the above findings from society against the possibilities of a new approach of education. When this happens, one will be able to come up with other insights and concludes that the educational world can or may not differ from the real world. That is why Fontys PULSED explicitly chooses to focus on complex issues in its educational programs; education is therefore part of life itself.

Complex issues The issues of today are more complex than a number of years ago³. In 2040,

In order to create solutions for these complex issues, new methods, ideas

the issues that todays youth will have to solve will be incredibly complex. A

and conceptual frameworks are needed. Einstein said: "Problems cannot be

solution will have to come from different experts, coming from a society that

solved by the same level of thinking that created them". In discovering these

embraces technology. These so-called wicked challenges (Rittel, 1960), such

different frameworks, an important role for education is reserved so that

as: "What are the ingredients of a good immigration policy?", ask for a solution

future generations can also respond adequately to that changing society.

approach in which the challenge is analyzed from multiple perspectives.

Fontys PULSED sees this new (creative) way of thinking and acting as a challenge in educating people. By bringing them into contact with a world

You can never solve a wicked challenge on your own. In order to fully utilize

that is constantly in motion, a foundation is created for new methodologies,

this potential and to be able to solve the wicked challenges, we will have

a different language and communication, which influences how to educate

to be creative, research and develop ourselves as diverse, individual and

people.

collective experts.

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Generation development Currently there is a movement in which younger generations are distracted faster by new (digital) impulses and experiences. The current twenties and thirties are agile, always on the move and seem to have an insatiable appetite for new ideas. There is a natural need to exceed the boundaries of disciplines and sectors. Barrico4 indicates that this other way of thinking and movement is not focused on a step forward, but rather sideways. People are looking for the sideways difference rather than the forward development.

Gunter Kress argues that society undergoes a change in cognitive knowledge: from a linear system that was dominated by books and writing, to a system that can be characterized by the use of - mainly - visual material, but also music, writing and audio material. The process becomes meaningful through 'assembly', making use of the relationship between different media and sources.

The Design-Based Learning approach embraces the change that Kress describes5.

Translation into education In order to educate the young generation to deal with complex issues, there is a big challenge for education. On the one hand, young people are still being trained in often outdated systems that have arisen in a different era. On the other hand, the generation, active as working professionals, are expected to continue to learn for a lifetime and thus also adopt influences from the new generation.

It seems that society asks to solve the complex issues differently than we are used to. New ideas form a crucial aspect of thinking in every society6. These new plans are needed, different perspectives, opportunities to simplify matters and re-invent them.

Design thinking can be described as a problem-solving activity and at the same time as an experimental learning process7. Lawson8 describes in his book 'How designers think' (2005) the concept of design as a process. A process that leads to results and results in, for example, wicked challenges.

One of the interesting things that can be deduced from a research by Kimbell9 is the shift from the goal of design thinking: from problem solving, to managing difficult to solve problems (wicked problems), to finding innovative solutions. The ideas of a designer, design thinking (DT) integrated into a didactic approach, is therefore extremely suitable to train people for future roles and responsibilities in society.

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2. DESIGN THINKING

The evolution The current role of a designer can be interpreted broadly. More and more the importance of a designer and his approach is recognized at a strategic level. It is this new form of added value that creates interest in the ideas of the designer: design thinking. In addition, the field of innovation is being further expanded. Not only physical products arise; new types of processes are also needed, such as IT-driven interactions, entertainment and ways of communicating and collaborating. Exactly in this kind of people-oriented activities, design thinking can make a decisive difference. For example, design thinkers state 'what if? questions' to propose future scenarios that go beyond accepting how things are done now9.

Richard Buchanan (1992) describes his four orders of design: 1 Design of visual communication (graphic design); 2 Design of objects (industrial design); 3 Design of activities and services; 4 Design of complex systems or environments in which you live, work, play and learn; Especially the third and fourth areas of design are developing strongly10.

Evolution

Understand

Experimentation

EMPATHIZE

DEFINE

UNDERSTAND 10

IDEATE

PROTOTYPE

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IMPLEMENT

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Key features of Design thinking Human centered In the final and current phase of the evolution of design thinking, there is a shift from user-centered to human-centered design.

Human-centered design is concerned with solving broader social issues. The role of the end user, as an organizing principle, is crucial.

Interdisciplinary teams Through the process of design thinking, collaboration in teams shifts from 'contributing to a project by different disciplines' (multidisciplinary) to 'a joint and simultaneous approach within the project': interdisciplinary. Tim Brown writes in ‘Change by Design’¹¹ ‘Today we are bringing all those disciplines, and many more, within the same team, in the same space, and using the same processes’.

Process steps No sequential steps are required to achieve a new product, service or innovation. There is no one way through which projects can be worked out; design thinking makes that impossible. Various sources therefore give different descriptions of a possible process. For example, Design Thinking for Educators¹² shows the phases on its website as: 1 DISCOVERY: I have a challenge. How do I approach it?

2 INTERPRETATION: I learned something. How do I interpret it?

3 IDEATION: I see an opportunity. What do I create?

4 EXPERIMENTATION: I have an idea. How do I build it?

5 EVOLUTION: I tried something. How do I evolve it?

Every process step has phases of diverging and converging. This divergence and convergence is used throughout the entire phase of the process (Figure 1).

Iterative approach After each step in the process reflection takes place, so that one can go back to a previous point. Making mistakes is a must: 'Fail early, to succeed sooner'¹¹. This leads to maximum possibilities in the process.

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Overlapping spaces The design steps suggest that some form of linear approach is possible with design thinking. However, the process must be seen more as a system of overlapping spaces than as a system of succession of stepsšš.

The innovation process can roughly be divided into 'three spaces of innovation', see image 2. Inspiration (from the problem an opportunity arises to find solutions), an idea phase (the process of devising, developing and testing ideas), and implementation (the process from design space to execution). Projects can go through these stages several times, so that ideas are refined further and new directions can be explored (iteration). The reason for this iterative, non-linear approach is that design thinking is fundamentally an exploratory process. It will almost always result in unexpected discoveries. Often these discoveries are integrated effortlessly into the ongoing process. Sometimes the discovery can discard a previously made assumption.

INNOVATION

IDEATION

INSPIRATION

IMPLEMENTATION

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Design thinking & the learning process Lucy Kimbell9 identifies three different forms of design thinking on the basis of different contexts: (1) design thinking as a cognitive idea, (2) as a general theory about design and (3) as a source for organizations. One of the interesting aspects of Kimbells research is the shift from problem solving, to managing difficult to solve problems (wicked problems), to finding innovative solutions.

Design thinking is therefore a specific approach that can be used to solve problems in an innovative way. Design thinking is embedded in the educational Design-Based-Learning process¹³. Very specifically she has concluded that the student uses a few elements in solving problems: use interactive/ iterative design methodology, validate assumptions and constraints, examine existing designs, explore user perspective, explore issues of measurement, conduct failure analysis.

Gomez-Puente¹³ shows in her research that there is a relationship between Design-Based-Learning and design thinking, and that these reinforce each other positively.

3. DESIGN-BASED-LEARNING

Design-Based-Learning Because the development of an educational program requires a clear structure, the approach of Design-Based-Learning has a number of essential elements: 1. Design thinking characteristics: iterative, diverging, converging, empathizing, process-based approach (see the five process steps described above).

2. Project characteristics: open-ended, authentic, hands-on, real-life, interdisciplinary team composition and multidisciplinary task distributions.

3. Role of the lecturer: facilitating the process (asking open questions), encouraging reflection, supporting students in analyzing the issues, helping to materialize what has been learned.

4. Assessment method: both formative and summative, both individually and at team level, both on process and on product.

5. Social context: collaborative learning, communicative contexts, peer to peer.

Starting point of learning In Design-Based-Learning, different starting points of learning are possible. It is important to make a conscious choice here, so that the right learning activities

Project characteristics: Open-ended, authentic, hands-on, real-life, interdisciplinary team composition and multidisciplinary task distributions.

can be developed in the design process.

1 Cognitive learning approach: the starting point for learning is a problem.

A physical touch with the context and people involved are part of the process.

The aim is to make students wonder themselves and let the problem be

Social context: Collaborative learning, communicative contexts, peer to peer.

Design thinking characteristics: Iterative, diverging, converging, empathizing, process-based approach (see the five process steps described above).

experienced from different angles.

2 Social approach: a story about an experience ensures that students enter into conversation with each other. This creates room for discussion in which everyone can share their opinions and insights. A student learns to relate to an education group that can also jointly

Assessment method: Both formative and summative, both individually and at team level, both on process and on product.

Role of the lecturer: Facilitating the process (asking open questions), encouraging reflection, supporting students in analyzing the issues, helping to materialize what has been learned.

indicate which learning questions there are in the group. i m ag e 3

3 Content approach: The student is in a learning process in which new experiences and knowledge are built up independently. At set times in a learning program they receive information and insight from experts. During these moments, it will be clarified where the student is in the learning process and where new learning questions could be addressed.

Learning by doing The skills and knowledge required for complex activities such as Design-Based-Learning can best be gained by learning by doing¹³. It is a form of learning that is not hip or fashionable in nature. At the starting point of learning, it is important that a student experiences variation. 'Education is not preparation for life, it is life itself' is a quote from Dewey, which clearly reflects the view of Fontys PULSED.

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Reflective learning The Design-Based-Learning approach is mainly about experimenting. This creates situations in which new insights are possible. It is therefore important that a student learns to deliberately connect thinking and doing logically and then analyzes it. When a student is able to build new knowledge through reflective activities, he shows that he is capable of making, doing and thinking complementary to each other.

Life-Long-Learning A study by Meijers & Den Brok14 shows that higher education will focus more on 'learning to learn'. This way a student is prepared for a future in which lifelong learning is a necessity and there is a great opportunity for a long career. The significance of the diploma shifts from the endpoint of the learning process to a starting qualification for a career that will be dominated by lifelong learning. Learning how to learn will therefore have to become an important learning objective of a higher vocational education program15.

In Design-Based-Learning, students develop their own expertise and identity in a continuous learning process13 14. To this end, Design-Based-Learning places the student at the heart of their own learning process, where the student uses 'reflection-in-action' and develops 'reflection-on-action' insights into how it is learned15.

Freedom with commitment Learning environments must fulfill certain characteristics in order to provoke or not to disturb intrinsically motivated behavior. Intrinsic motivation for a task or activity comes about when the learning situation appeals to the student's need for competence, autonomy and social solidarity16 17. It is therefore important for a student to be clear about the global guidelines and final criteria, which means that there is room for one's own initiative, so that the education fits in with the student's world of life and also with the context of the problem.

Complementary In didactics, there has been a shift from teaching to learning18. Design-Based-Learning places the student at the heart of their own learning process. The teacher will more often play the role of coach/supervisorš³. Boekaerts en Simons18 state that the new roles that students and lecturers assume must be complementary. One role cannot be executed without the other. This implies that the student cannot be solely responsible for his own learning process.

Conclusion Lee & Breitenberg 20 describe in 'Education in the New Millennium: The Case for Design-Based Learning' (2010) that Design-Based Learning is in line with how students learn today. This is due to the fact that the current student is born in the digital era 20. DeGraff 21 describes them as: 'Digital natives view the world horizontally'.

When we want to prepare students for a professional role in which they contribute to coming up with solutions for "Wicked Challenges", the educational approach is crucial. With Design-Based-Learning, the real world becomes part of the educational world. Various elements together play an important role in shaping and implementing Design-Based-Learning.

In Figure 4, the most important elements are summarized overall. These elements have been concretized earlier in this explanation of Design-Based-Learning. Ultimately, it is important that these elements are taken into account in the design and implementation of Design-Based Learning and that conscious choices are made to omit elements or give them more attention.

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• Competences

• Identity

• Future skills

Development, measure & eveluate

• Branch/context/sector

• Field/role/profession content

• TEC learning lines

Body of knowledge and skill

• Direct instructing

• Life long learning

• Reflective practice

• Learn by doing

Educational forms

Design Based Learning

Educational characteristics • Design thinking elements • Freedom, with commitment • Project elements • Teacher role • Measure & assess moments

• Social context

imag e 4

Connect to

• Wonderment

• Cross-innovation

• Global challenges

Futureperspective

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• Connector (tech-non tech)

• Social Entrepreneur

• Facilitator of changes

Source 1 Boutelier, H. (2011). De improvisatiemaatschappij. Amsterdam: Boom Lemma 2 Bauman, Z. (2011). Vloeibare tijden. Leven in een eeuw van onzekerheid. Vertaald door Valk, J.M.M. de. Zoetermeer: Klement 3 Jansen, P. (2014). Een andere blik op een betere wereld. Verkregen op 8 december 2014, via http://www. nmepodium.nl/Opinie/Eenandere-blik-op-een-betere-wereld 4 Baricco, A. (2010). De Barbaren. Amsterdam, De Bezige Bij 5 Kress, G. & Leeuwen, T. van (2001) Multimodal Discourse: the Modes and Media of Contemporaty Communication. Londen: Edward Arnold 6 Bono, de, E. (2009). Creatief denken. Slimme technieken om problemen op te lossen. Amsterdam/Antwerpen: Business Contact 6 Bono, E. de (2009). Lateral thinking: Creativity Step by Step. New York: HarperPerennial Publishers 7 Sluis, R.J.W, Bekker, M.M., Eggen, J.H. (2007). Comparing early design methods for children, User Centered Engineering Group, Faculty of Industrial Design, Eindhoven Univesity of Technology 8 Lawson, B. (2005). How Designers Think. The Design Process Demystified. Oxford: Architectural Press 9 Kimbell, L. (2012). Rethinking Design Thinking: Part II. Design and culture, jaargang 4, nummer 2, juli 2012. Verkregen op 20 november 2014, via http://www.designstudiesforum.org/journal-articles/rethinking-design-thinking-part-2/ 10 Buchanan, R. (1992). Wicked Problems in Design Thinking. Design Issues, jaargang 8, nummer 2, p – 21. Verkregen op 26 november 2014, via http://www.jstor.org/stable/1511637?seq=7 11 Brown, T. (2008). Design Thinking. Harvard Business Review, juni 2008. Verkregen op 10 november 2014, via https://hbr. org/2008/06/design-thinking/ 12 Design Thinking for Educators, Bezocht op 10 december 2014, via http://www.designthinkingforeducators. com/toolkit/ 13 Gómez Puente, Dr. S.M. (2014), Design-based learning: exploring an educational approach for engineering education, a dissertation for the University of Technology Eindhoven and the Eindhoven School of Education 14 Meijers, A. & Brok, P. den (2013). Ingenieurs voor de toekomst. Een essay over het onderwijs aan de TU/e in 2030. Een uitgave van de Technische Universiteit Eindhoven 15 Moravec, J.W. (2008). Knowmads in Society 3.0. Education Futures. Verkregen op 12 oktober 2014, via www.education-futures.com.

2008/11/20/knowmads-in-society-30/ 16 Deci, E.L. & Ryan, R.M. (2000). Self-Determination Theory (SDT). Verkegen op 10 november 2014, via http:// www. selfdeterminationtheory.org/ 17 Deci, E.L. & Ryan, R.M. (2000). Intrinsic and Extrinsic Motivations: Classic Definitions and New Directions. Contemporary Educational Psychology 25, p. 54–67. Verkregen op 8 december 2014, via http://www. selfdeterminationtheory.org/SDT/documents/2000_ RyanDeci_IntExtDefs.pdf 18 Kallenberg, T., Grijspaarde, L. Van der (2009) Leren (en) doceren in het hoger onderwijs. Den Haag: Boom Lemma uitgevers 19 Boekaerts, M. & Simons, P.R.J. (1995). Leren en instructie: Psychologie van de leerling en het leerproces (tweede herziene druk).

Assen: Van Gorcum 20 Lee, H-K. Dr., Breitenberg, M. Dr. (2010). Education in the new millennium: the case for design-based learning. The international journal of art & design education, jaargang 29, nummer 1, p. 54 – 60. Verkregen op 5 oktober 2014, via http://www.icsid.org/feature/ current/articles1053.htm 21 DeGraff, J. (2014). Digital Natives vs. Digital Immigrants. Huffintonpost, 16 juni 2014, Verkregen op 5 oktober 2014, via http://www. huffingtonpost.com/jeff-degraff/digital-natives-vs-digita_b_5499606.html

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FO N T Y S P U LS E D COP YRIGHT 2 018 MO R E IN FO R M AT ION: J.GOE D HA LS @ FONT YS .NL

N r. 2-2018 Versie 1.0

EN

pulsed you are a designer