Design practice is increasingly recognised for its capacity for strategic innovation in transdisciplinary arenas. In contemporary professional contexts designers are contributing to progressively broader areas of service design, strategy and design for social innovation. In response, leading design education institutions are changing significantly in structure and pedagogy to align to changes in practice, meet market demand, and ensure economic sustainability. Supported by national strategic priorities and global design communities that recognise design as a significant driver of innovation, higher education institutions are developing curricula with an emphasis on strategic, creative and entrepreneurial graduate capacities. This paper will examine scholarship that considers the relationship between enterprise and creative capacities and the dimensions of entrepreneurship that are now being developed in diverse models within higher education. Reviewing the structural and pedagogical approaches that these higher education institutions are using to develop entrepreneurial graduate capacities, this research will consider further opportunities for more sustainable, effective, and relevant curricula and the impact this has on design studio in higher education.
Space is not a simple definition framed as an architectural place or a limited area; space is more extensive. In art fields such as cinema and animation, space is a living and evolving element in terms of narration. Space can function in different forms. It can either be the main theme of the narration or decor/background of the story. It may act as a preventive element affecting the events and fates of the characters in the story while it may play a role as an assistive element. Therefore, space becomes a main character in the storyline. Space design is a part of the concept space design and has a dramatic function during the writing process. Thus, it becomes a main element of the plotline. Some artists in the animation field will travel to other countries and geographies to experience the spirit of a certain space and transfer those impressions onto the story. Through the example of a student animation movie named “Our Eskişehir” completed in an introduction to video course, this study examines the effects of a space and its influence on the spirit of spaces and stories of spaces in relation to animation design (space-character and story design).
This article explores youth as a user market segment regarding perceptions and practices of clothing design, use and disposal and what it might take to create change. Educational strategies for fashion related product design are particularly difficult to consider in terms of sustainability because of the glut of mass produced apparel and the user behavior associated with purchase and rapid disposal of cheap goods. The user needs to be made aware of the problem of perpetual buying of products that will be in the landfill within a year and to provide the designer with best practices that lead to solutions. Earlier research with designers on their perceptions and practices of sustainable design revealed the need for an updated concept of best practices and excellent prototypes. An international call to designers for prototypes for sustainable design resulted in a juried exhibition. These prototype designs motivated youth to engage in an educational workshop focused upon encouraging application of these sustainable design ideas. Their responses to questions about sustainable best practices were analyzed and findings were then translated into design principles and related educational strategies.