Removing Plagiarism from the Design Process: Stimulating Creativity and Originality in the Design Classroom

The study of design is as much about history as it is creativity. Almost daily, designers seek visual inspiration and interact with designed objects, adopting styles of design into their own repertoire. Unfortunately, some are unable to separate creative inspiration from plagiarism, creating a major issue for designers to address and understand. In our digital society, the threshold for finding others work has dramatically reduced. Through internet searches and social media applications, thousands of images and designs are readily available. With numerous visual influences, the line between inspiration and plagiarism can become blurred. As educators, tackling this issue at the student-level is critical as young designers are still developing their voice and talent. To offset potential plagiarism, our curriculum at Kent State University encompasses preventative methods including lectures, class discussions and an entire course on visual ethics. Even with those tactics, plagiarism cases continue to be found from the freshmen to senior level. The design process lies at the heart of the matter. This article will discuss methods to help students understand and improve upon their creative process—with the ultimate goal of fostering original design solutions. Through process books, creativity exercises, and reflective tasks, students become more aware of their process. We are creating an atmosphere of learning where students learn to trust their own instincts rather than rely on the crutch of a Google image search.

Adaptive Reuse in Craft, Design, and Art in the City

Adaptive Reuse is the use of buildings, materials and products for purposes other than originally intended. Although adaptive reuse has a long tradition in arts and crafts, more recently environmental awareness and design for sustainability have revitalized the role of a trash to treasures approach, providing a wide array of contemporary urban design, craft and art which are important part of today’s cities. Supported by a significant photographic documentation of examples, this paper explores some of the roles of adaptive reuse in craft, design and art in the urban environment, focusing on repurposed objects found in urban public spaces. An initial background discusses the relationships of crafts and design in the rural and urban contexts, in order to define the city since the industrial revolution. The concepts of cultural identity and sustainability and their relationship to crafts and design are also discussed. Subsequently diverse examples from architecture, crafts, design and urban arts illustrate diverse modes of adaptive reuse at the urban, human or hand scale, mainly focusing on adaptive reuse of buildings and urban structures, as well as objects found in public spaces in the city, such as public furniture and public art (in exteriors) or fixtures as furniture, lights and art (in interior spaces). Main conclusions discuss the different roles of adaptive reuse, craft and design in the contemporary city’s built environment through a categorization based on physical scale, context and use, namely within the types of repurposed items here illustrated and mainly within 4 categories, as follows: 1) Railways, 2) ISO Shipping Containers, 3) Gas tanks 4) Unused industrial equipment and others.

Dimensions of Entrepreneurship in Design Education: A Review of Curriculum Models for Emerging Creative Practice

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.