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The Dutch research project “Wijs met techniek” (Tech-Wise) explores ethics education from a tool-based, practical perspective. Especially if and how practical tools for ethical deliberation on the impact of technology can be helpful in ethics education for engineering students. The approach is first intended as a variation on theories in ethics and technology. Secondly, the approach uses a focus on the impact of technology as a way toward ethical deliberation. Both characteristics are intended to better appeal to engineering students. In the project we cover three levels of higher education; a University, a University of Applied Sciences and a School for Vocational training. Together we are developing and testing a suite of activating working methods that can be tailored to various engineering programs. A first result of this is the simple workshop format “ethics for engineers”, consisting of five steps with four effective ingredients. In this paper we present the general format of this workshop and dive in particular into a specific instance of the workshop called “Wonderberries”. The experiences from the workshop show that with a carefully chosen combination of engaging orientation, a specific ‘technology’ and a concrete design exercise the ethical questions and subsequent deliberation and reflection can be very rich.

Knowledge and skills are tightly entangled with economic and political powers. Critical studies (e.g. Crocker, 2017; Ritzer, 2018; Smart, 2010; Thorpe, 2012) exploring the relationships between design and consumerism suggest that skills, knowledge and ethics are inseparable from how these relationships are constituted. Thus, the design, production and consumption of artefacts, including services, are interconnected to values of the way we want or expect to live our and others' lives, the way resources are being exploited, and their subsequent effects on climate change. As values and expectations change, so do the relationships which make up these interconnections. For example, in the past agricultural societies, most of the population required skills such as animal husbandry to feed and sewing clothes to keep warm. The skills and values needed to operate in the current hyperactive global markets have shifted in other directions. To tackle the current issues, we propose that all people should be versed in design approaches to have a ‘say’ and the ability to meaningfully act on how today's artificial world is shaped.

Literature suggests that exposing future designers to knowledge from other disciplines is beneficial. We refer to these as ‘non-traditional’ skills. One such area is the social sciences; in this paper we will be focusing on this area. First we outline the reasons why design students should be exposed to discourse from the social sciences. We refer to these as ‘non-traditional’ design skills. We then describe an international project which illustrates how students were able to practice such skills alongside more ‘traditional’ design skills. We conclude by stating that although the project demonstrated the possibility of enabling future designers to practice both ‘traditional’ and ‘non-traditional’ (wider) skills at module level is a good start, we believe that such ‘wider skills’ should be strategically incorporated at programme level in order to scaffold them through the programme.

Higher Education graduates have access to employment in the Knowledge Economy. Data suggests that competition for graduate jobs is currently fierce. Research suggests that understanding theory related to the construction of identities (i.e. ‘notions of the self’) may aid graduates in becoming employable in the Knowledge Economy. Worryingly however, when compared to other graduates, design graduates are at a disadvantage when it comes to finding graduate positions in the knowledge economy. Identities are discursively constructed in relation to others. Consequently, this paper uses results from an international cross-institutional student project to propose that design students may benefit from communicating with students from such settings in order to gauge difference. We conclude by proposing that design students may benefit from understanding the importance of ‘notions of the self’ as a way to aid employability in the Knowledge Economy.

Digital technologies have enabled design sketching to expand into new applications and domains. Inevitably, these new forms of visualisation require re-evaluating how we use drawing to see, visualise, understand, and fabricate products and services in design education and the profession. This paper presents a selection of discoveries after the authors performed research, made presentations and mediated workshops when face-to-face collaborations and travel were impossible because of the Covid-19 epidemic restrictions. Findings add to work intending to build a modern taxonomy for design sketching and visual knowledge while accounting for immersive virtual collaboration and distributed workflows from sketching to 3D CAD and 3D printing. These are among the first indications of a drive towards synthesising historically demarked design process stages into a singularity of actions that merge and move simultaneously among ideation, design, and production. Participants in two international conference workshops shared ideas and discussed their local circumstances relating to the potential use and acceptance of new technologies already researched and adopted in other disciplines such as computer science and entertainment. A critical consensus was that the challenge of new technologies for our design education and profession is not as much about technology and its tools as the process and steps that enable change. Significantly, conversation pointed towards a strategy that enhances and augments habits in design education and the profession as the means to modify and transform culture and practice.

Nowadays, designers deal with increasingly complex and meaningful challenges. Because of that, design schools are required to deliver professional designers capable of handling what future decades might bring. Therefore, resilience, generally described as the process of adapting well in the presence of adversity, makes it a valuable quality future generations of designers could develop. As resilience is still an abstract concept within the education domain, this MSc graduation project aimed to explore how it could be built and enhanced in such context. The approach chosen to tackle that question was initially to analyse the literature regarding resilience. Then, to perform an in-depth autoethnographic study in a moment resilience was systematically present in the faculty of Industrial Design Engineering: the COVID19 lockdowns. Finally, the learnings from that period and previous literature research were synthesized into a theoretical framework that aims to assist educators in conceptualizing interventions to foster resilience in learning systems. This framework was implemented to design and evaluate My Rubric, a co-creative guide for adaptive assessment, which aims to offer a constructive and resilient alternative to the current rubric.

Design is generally accepted to provide valuable contributions to addressing complex societal challenges. Even though design and engineering professionals show increasingly capable of making societal impact, it is not straightforward why some creative practices are more impactful in fostering systemic change, let alone what additional capabilities they pursue to be distinctive. The current study introduces a capabilities framework highlighting a set of advanced design capabilities expanding the conventional skillset of designers and engineers towards enabling the adoption of local innovation at a systemic scale. Afterwards, the developed capabilities framework is used as a pedagogical frameworkto design a learning environment to prepare the next generation of design and engineering students to respond to today’s societal challenges. We close with a discussion on the professional and pedagogic role of design and engineering as agents of change

Critical reflection, addressing students’ attitude, beliefs and values related to pressing topics in the world, plays a crucial role in developing ethical sensitiveness and critical design literacy in design education. Critical reflection is provoked by discussing self-made photos, as is demonstrated in the research method Photovoice. This paper considers Photovoice in design education for its ability to foster learning through self-guided critical reflective interactions with peers based on self-made photos. Research on how to support this is lacking. This paper addresses this gap by studying students engaging in self-guided Photovoice assignments. Results consist of adapted steps for Photovoice in education and illustrate potential as well as boundaries of self-guided Photovoice through students’ quotes and photomaps. Also, five frames of interpretation, suggested by students engaged in self-guided Photovoice, contribute to previous knowledge and may inspire the design education community to start experimenting with Photovoice in course work. The final aim is to support students in critical reflection, a crucial skill for responsible design professionals.

Design education has looked for different approaches to teaching ethics and ethical behaviour. In this paper I want to add an approach that is coming from the collaboration between design research and philosophy of technology. Philosophy of Technology has produced a substantive amount of theories and reflections about the impacts of technology and innovations on our daily lives and social behaviours. To make the reflections from philosophy of technology more tangible for design engineering students we experimented over the years with different tools and practical approaches in order to integrate these perspectives directly in the design process. In analogy with the empirical turn before, we named this closer integration with design ‘the Practical Turn in Philosophy of Technology’. My argument now is that by using these insights, one can cultivate ethical reflection with design engineering students by directly informing their design process in what I call ‘practicing the practical turn’. In this paper I will show this approach alongside the results of a one week workshop with a group of students from the University of Antwerp in the context of responsible design for public space.

10th Anniversary of the DRS Learn X Design Conference Series The year 2021 has been particularly special for the DRS Learn X Design (LxD 2021)1 organising teams. The conference series marked the 10th anniversary since the first event was held in Paris in 2011 (Bohemia et al., 2011)2 , see the reflection on page 50. Since then, the conferences have been organised biannually. The DRS/CUMULUS 2nd International Conference for Design Education Researchers was held in Oslo in 2013, on the theme of Design Learning for Tomorrow – Design Education from Kindergarten to PhD (Lloyd & Bohemia, 2013; Nielsen et al., 2015; Reitan et al., 2013)3 , see the reflection on page 45. The DRS/CUMULUS/Design-Ed Learn X Design 3rd International Conference for Design Education Researchers was held in Chicago in 2015, on the theme of Education and Design to Enlighten a Citizenry (VandeZande et al., 2015)4 , see the reflection on page 38. The DRS Learn X Design 4th International Conference for Design Education Researchers was held in London in 2017, on the theme of The Allure of the Digital and Beyond (Pritchard & Lambert, 2017)5 , see the reflection 35. The DRS Learn X Design 5th International Conference for Design Education Researchers was held in Ankara in 2019, on the theme of Insider Knowledge (Börekçi et al., 2019)6 , see the reflection on page 30. The theme for the 6th International Conference for Design Education Researchers hosted by the Shandon University of Art & Design was Engaging with Challenges in Design Education (Bohemia et al., 2021). The general 2021 conference theme reflected the unprecedented changes which took place in design education around the world since the first event was held in Paris a decade ago. For example, in China since 2016, more than 2000 of institutions have been delivering design programmes. Every year, also in China alone, more than 540 000 students enrol into Design programmes. And the number of students studying design and related majors in the Chinese schools now exceeds 2 million. The design discipline has become the most prominent one in more than 140 first-level disciplines and more than 90 undergraduate majors in China. China’s growth of design programmes and design student graduates at universities is shifting the very foundation of how design is taught (Pan, 2021). In additional, the Design is being taken up increasing by other disciplines (Bravo & Bohemia, 2021) and being incorporated into general education (Lutnæs, 2019) which requires us to reconceptualise the design education and its purposes (Bravo & Bohemia, 2020; Lloyd, 2011). This echoes advocation by scholars such as Anita Cross (1984), Buchanan (2000), and Nielsen and Brænne (2013) for design to become part of the general education. At the time when the general conference theme was proposed, Covid-19 which forced the most rapid and radical changes on design education, was not yet on horizon (see Figure 1). However, as the education has been rapidly transformed due to the Covid-19 pandemic that has affected the entire world, the general theme of the conference indivertibly became a fitting theme.

This paper chronicles an investigation involving a group of design students from Northumbria University, School of Design. The investigation presented the opportunity to validate a framework that correlates the physical access of designed objects against the visual attention these objects gained through media including exhibitions. The outcome of this case study aims to better understand how the shift from physically to visually consumed designed objects impacts on industrial design students. Specifically the way they access and use design material for inspiration, learn about design and develop their ambitions to work as designers.

This paper discusses how industrial design lecturers in Chinese HE institutions evaluate understand creativity in students' design works in related design courses. First, through literature analysis, this study explores and sorts out how lecturers understand “creativity” in different cultural backgrounds. Secondly, the curriculum and syllabus of 5 institutions of higher learning in China1 were collected, and 64 selected industrial design lecturers from these five HE institutions were interviewed to evaluate design works which were completed by design students in the courses during the four-year long programmes. The purpose of this study is to further understand how lecturers evaluate students' design works and to explore their reasons. Through the analysis of the data collected from this interview, the results indicate that most lecturers have difficulties with providing concrete instances of what they mean by creativity, and subsequently they were unable to articulate criteria they used to assess students' creativity.

Industrial Design Engineers have a social responsibility by the very nature of their activities, bringing new products and services into the world of the user. Within the design related research chairs of our university we strive to shape this responsibility in the context of the design of Human Technology Relations. This paper will report on the experiences with teaching responsible design in the context of an Industrial Design Engineering Master’s course “Create the Future”. In this course student groups explore the future of a specific design domain by means of future scenario development. In the course, the potential impacts of future design interventions are actively explored by means of the Product Impact Tool. This is a framework, derived from Philosophy of Technology and User Centred Design that addresses the multitude of impact types that technologies have on humans and human behaviour. In the course, the student groups analysed and evaluated their conceptual designs with the tool in a half-day workshop. Looking at the influence of the Product Impact Tool exercise on the final design results of the course, we can conclude that the use of the Product Impact Tool is valuable for the implementation of responsible design in design education.

Philosophy of technology could bring new insights when applied to design practice. This paper brings together mediation theory and design for values. We present a new design for values methodology: Values that Matter. Via the four phases; explore, conceptualise, anticipate and test, VtM allows for anticipating value dynamics. It starts with the assumption that value expression and definition arise in the interplay between users and technology. An extensive mediation analysis then helps to provide insight in and allows for anticipation on potential effects of technology on users and value dynamics, something that current value sensitive design approaches cannot deliver. Those insights are tested with involved actors to bring about best values by design. VtM has been applied to the case study of ViSi Mobile, a medical device developed for continuous monitoring of vital signs in hospitalised patients. A redesign was proposed that better empowers these patients.

Designing interactive systems that are pragmatic, attractive and easy to use for older adults is challenging. Participatory design, as an approach to enhance the mutual understanding between designers and end users, has been proved to be useful to improve the quality of design for older people. However, PD research has long been criticized for extensively dealing with the early-phase design while putting less emphasis on the later stages. In this paper, we argue for the importance of collaborative refinement when designing interactive systems for older adults. Through a case study, we describe our experience of co-refining the preliminary design of an interactive system with older participants from three perspectives: function, form and interaction. We also explored to adopt some potential PD methods and conclude by discussing the effectiveness of the chosen approach and methods.

The Faculty of Industrial Design Engineering of the Delft University of Technology offers a bachelor’s degree education programme and three master programmes. Our students are lectured in ergonomics and learn to design and conduct research in ergonomics. In this paper we describe the development of methods to realize ergonomic fit mapping based on 3D anthropometrics and to educate students on this topic. At our faculty, we have a long tradition in teaching the use of 1D and 2D anthropometric data based on an anthropometric design model. However, due to the increasing availability of 3D scan data, 3D scanners and 3D printers, the design model is extended with new methods. We enter the complex field of 3D anthropometry and statistical shape models, which is an increasingly popular mathematical representation for 3D human shape variation. These facilities and knowledge are particularly useful when it comes to products that should fit close to the human body, like face masks, eyewear, protection gear for hands or lower legs in sports, as well as products in the medical field, like orthoses and prostheses. Till now, at our faculty, most of the education is done through individual or team projects. This setting allows us to spend more time on explanation and to give access to scan data from international research projects like CAESAR (http://store.sae.org/caesar/). Three years ago, we also started with lectures about 3D scanning, 3D anthropometry and workshops for first year bachelor students (more than 300 students each year). The use of 3D anthropometrics is explained and practiced throughout the different stages of complexity. It starts with the use of 1D and 2D anthropometric data, the application of percentiles and the DINED tool Ellipse (www.dined.nl) to see the correlation between two different body dimensions and to determine the consequences for related product dimensions. It ends with the use of 3D anthropometric data for the design of a helmet for cyclists, by way of bi-variate based shape analysis of the head. We made efforts to lower the burden for students working with 3D scan data, for example by providing pre-processed 3D scan databases and casus specific measurement tables. To conclude, the traditional anthropometric design model (iterative design steps from a sketch to a mock up with use of 1D data in anthropometric databases, 2D mannequins and 3D digital human models), is extended with the use of detailed human shape information in 3D CAD software. The challenge is to facilitate our students with intuitive ways of providing access to statistical shape models, as well as ways to incorporate these shape models into 3D CAD software. The authors present an overview of the methods and tools they have developed or are going to develop, from the use of a 3D scan for a personalized product to the application of statistical shape models based on the selection of specific human features for mass production products.

Collaboration between Design and Philosophy of technology can generate new insights in the complex interplay between humans and technology. These so-called human-technology relations are one of the key issues in design innovation and the shaping of our future. Design Innovation can use the frameworks of philosophers to theorize the findings from practice or to make sense of past developments, especially since Philosophy of Technology in the current of the so-called empirical turn is more focused on individual technologies and contexts. On the other hand, designing actual things provides a powerful laboratory to test philosophical frameworks in real life. You might say that through design innovation these conceptual frameworks can become ‘applicable’. So, in analogy with the empirical turn in philosophy of technology before, the present collaboration with design is termed a ‘practical turn’. Philosophy of Technology has a substantial track record in thinking about the impacts of technology and innovations on our daily lives and social behaviours. Combining this conceptual toolkit with design innovation, with its capability of actually changing things, promises a powerful approach to developing critical future-making practices. Our approach focuses on anticipating possibilities and consequences. As such, it is related to responsible innovation, social design and critical design, but also different in being more reflexive and explorative. We are seeking papers that either have applied philosophy of technology insights to real world problems and design innovations; or the other way around, papers that have used insights from philosophy of technology to reflect on innovations that were actually realised.

Design is today suggested as an alternative way of working in government contexts. Manydeveloped nations are trying to embed design in their public organizations. Yet recentstudies have shown that design is not easily permeating into everyday practice of public organizations. This research therefore aims to understand what the current practice ofdesign-embedding in government is like and its limitations by interviewing six experts in the design for government field. The research findings reveal that the changes created by the current design-embedding practice in government are not being actively sustained or amplified. Based on an understanding of organisations as complex systems, we suggest a further practice of design-embedding in which designers steward and stimulate design-led change energy within public organizations. This study shows that embedding design capability in professional organizations is more about design-led organizational change than passing on a design skillset to the organizational members.

This paper explores the use of visual storytelling, for instance sketching, in organisational strategy practices. It contributes to an understanding of how design education has to change in order to broaden the skillset of design students, for them to be able to redesign organisations.

We are living in transitional times. Much has been under debate on the need to change and to cope with societal transitions, less emphasis, however, is devoted on how to do so. Therefore, one of the primary questions in Transition Design is how to design for sustainabilitytransitions? The current work aims to evaluate ‘transition design studies’ by analysing and evaluating the current available practice of transition design in order to contribute to the field in two ways: first, by maturing through evaluation, and second, by identifying points of further research. Our findings show that three phases can be distinguished within transition design processes: Design researchto understand past, present, and to envision the future; Designing interventionsto create the right thing, at the right place, at the right time, and Design practice for transitionthat accumulate the design interventions in order to drive societal transitions

Design for Sustainable Development refers to the application of a design process to solve a problem related to sustainability, such as creating a pair of shoes that can be recycled or managing waste collection in a large city. Since the origins of this concept in the 1960s, Design for Sustainable Development has been evolving, gradually broadening its scope over time from the design of products to the design of services, business models and wider ecosystems. In this evolution, designers have come closer and closer to business problems, thus becoming more strategic. In this paper, we explore this evolution from a business perspective. We visualize it into a framework and interview eight academicexperts about the Strategic role of Designers for Sustainable Development. We find that the evolution can be framed around five topics: the strategic goal of designers, and their related perspective, language, key activities and main challenge. After discussing how the evolution took place around each topic, we draw implications for designers and managers who are willing to play an active role in the transition towards sustainable development.

In this exploratory paper, we examine how students perceive metaphors for design research at first and subsequently assign more technical meanings to them throughout the programme. The use of metaphors can be a powerful didactic tool as metaphors can act as gateways, activating students' intuitions and existing knowledge, preparing the mental ground for newly acquired knowledge. However, if educational use of metaphors is studied empirically at all, it is usually at their first introduction and not for a longer period of time. Using a free-association exercise and open response questions in a questionnaire we examined how students' perception of a set of metaphors for design research changed during a 3-year programme. We found that metaphors get loaded with meaning through the aid of connecting concepts, which are important at first, but become less important over longer periods of time. Nevertheless, metaphors that are easily loaded with technical meaning at their first introduction also do better in the long term. As such a fair assessment of the long-term tenacity of the chosen metaphors can be made at the time of introduction.

Collaboration between Design Research and Philosophy of Technology seems very promising. The reflective, philosophical perspective brings the societal implications of design to the fore and this is an interesting focus for reinforcing research approaches for design. Since the philosophy of technology in the current of the ‘empirical turn’ aims to study concrete technologies and contexts, contributions from philosophy to design have become all the more feasible. Design Research can use the frameworks of philosophers to theorize the findings from practice, to make sense of the past, and for ethical reflection on the impacts of design and the moral responsibilities of designers. Or, still more practical, philosophical insights in the relationships between humans and technology can contribute to design for usability and design for behaviour change. On the other hand, the practice of designing actual things provides a laboratory for putting philosophical frameworks to the test and to use in the real world.