This document summarizes a workshop on teaching design that included 12 activities over 6 hours. It covered topics such as defining and evaluating design, problem framing in teams, cultivating awareness, and design reviews. The workshop referenced over 30 papers on design pedagogy topics like studio learning, cross-disciplinary design, design methods/teams, and assessments. The document also lists the author's experiences teaching design at various universities since 1999 and concludes with reflections on defining and evaluating design through case studies and criteria.
Exploring the Lived Experience of Learners: Broadening our Understanding of A...colin gray
In recent years, there has been increasing focus on aesthetic learning experiences. We propose expanding this focus to account for the felt learner experience, including a deeper understanding of how learners build learning spaces surrounding the formal curriculum. This study is based on a one-year ethnography of a design studio, documenting how students actively engaged in informal learning in support and reaction to the formal pedagogy. Implications for the design of learning experiences are discussed.
This presentation describes the research journey using as a stepping stone the historical/contextual teaching and learning practices in Art and Design – an inescapable reality. This provides for some of the reasons that sustain the resistance against implementing elearning in the sector. The presentation argues for the recognition of disciplinary differences. Subsequently, phenomenography, action research and grounded theory as suitable research methods are elaborated upon through the description of research tasks that cover social media, informal learning, the use of mobile devices (iPads) for teaching and learning, and the clash between traditional versus digital media in the context of studio-based learning. The presentation concludes with two epiphanies that help the presenter conceptualise the nature of the challenge vis-à-vis elearning in Art and Design.
Revised and updated slides for the first day of the Creativity and Design module at the Institute on Asian Consumer Insight, Nanyang Technological University 2016
Designing user interfaces based on evidenceR. Sosa
1hr intro to basic concepts of interface and interaction design, aimed at year one students designing UI and control panels as part of their design projects.
Exploring the Lived Experience of Learners: Broadening our Understanding of A...colin gray
In recent years, there has been increasing focus on aesthetic learning experiences. We propose expanding this focus to account for the felt learner experience, including a deeper understanding of how learners build learning spaces surrounding the formal curriculum. This study is based on a one-year ethnography of a design studio, documenting how students actively engaged in informal learning in support and reaction to the formal pedagogy. Implications for the design of learning experiences are discussed.
This presentation describes the research journey using as a stepping stone the historical/contextual teaching and learning practices in Art and Design – an inescapable reality. This provides for some of the reasons that sustain the resistance against implementing elearning in the sector. The presentation argues for the recognition of disciplinary differences. Subsequently, phenomenography, action research and grounded theory as suitable research methods are elaborated upon through the description of research tasks that cover social media, informal learning, the use of mobile devices (iPads) for teaching and learning, and the clash between traditional versus digital media in the context of studio-based learning. The presentation concludes with two epiphanies that help the presenter conceptualise the nature of the challenge vis-à-vis elearning in Art and Design.
Revised and updated slides for the first day of the Creativity and Design module at the Institute on Asian Consumer Insight, Nanyang Technological University 2016
Designing user interfaces based on evidenceR. Sosa
1hr intro to basic concepts of interface and interaction design, aimed at year one students designing UI and control panels as part of their design projects.
I found this slide deck from 2011 and I am surprised how relevant these ideas are five years on. I'm also happy to see that more authors from business and academia are building refreshing approaches to creativity, way more useful and evidence-based than what the old books and courses on creativity used to do (the "nine dot problem" is one example of silly creativity exercises)
Art, Science, Design, Engineering: Four Creative HatsR. Sosa
This talk is an introduction to cross-disciplinary thinking based on my academic, professional, and personal experience in the last two decades. The matrix is from Rich Gold's book "The Plenitude", which provides a great way of looking at (and challenging) the similarities and differences between the ways of thinking across disciplines.
CREATIVITY AND ENGINEERING DESIGN: ANALYSIS INTO THE EDUCATIONAL ENVIRONMENTAlfonso Erro
Creativity is an important subject in many areas, regarding design. Engineering Designers has to face several design problems, since concept ideation to detail as well as manufacturing. A creative strategy will easily solve most of engineering design problems. Visual thinking is important mean for a creative practice on engineering design. There are several studies and methods for creativity and engineering design. However, creativity and engineering remains as an open question. We study several creative learning approaches from various perspectives and then we propose an implementation model into the engineering academic programs
Design for learning: communities and flexible design processesdavinia.hl
DESIGN FOR LEARNING: COMMUNITIES AND FLEXIBLE DESIGN PROCESSES
U. Sydney, CoCo Research Seminar
In this seminar, the presenter will deliver a short overview of the learning-technologies research being conducted by the Department of Infomation and Communication Technologies of the Universitat Pompeu Fabra in Barcelona. The focus will be the results of the METIS European inservice teacher-training project, which aims at promoting the adoption of design approaches enabling educators to act as (co-)designers of sound (technology-supported) learning activities. The presenter, Associate Professor Davinia Hernández-Leo will, in particular, introduce the Integrated Learning Design Environment (ILDE), a community environment that integrates:
- co-design support for educator communities
- learning design editors following different authoring and pedagogical approaches
- interface for deployment of designs on mainstream virtual-learning environments.
ILDE has been used in a variety of community contexts, each of them applying different design processes supported by combinations of selected integrated tools.
http://sydney.edu.au/education_social_work/news_events/events/2015/Semester-One/design-for-learning.shtml
I found this slide deck from 2011 and I am surprised how relevant these ideas are five years on. I'm also happy to see that more authors from business and academia are building refreshing approaches to creativity, way more useful and evidence-based than what the old books and courses on creativity used to do (the "nine dot problem" is one example of silly creativity exercises)
Art, Science, Design, Engineering: Four Creative HatsR. Sosa
This talk is an introduction to cross-disciplinary thinking based on my academic, professional, and personal experience in the last two decades. The matrix is from Rich Gold's book "The Plenitude", which provides a great way of looking at (and challenging) the similarities and differences between the ways of thinking across disciplines.
CREATIVITY AND ENGINEERING DESIGN: ANALYSIS INTO THE EDUCATIONAL ENVIRONMENTAlfonso Erro
Creativity is an important subject in many areas, regarding design. Engineering Designers has to face several design problems, since concept ideation to detail as well as manufacturing. A creative strategy will easily solve most of engineering design problems. Visual thinking is important mean for a creative practice on engineering design. There are several studies and methods for creativity and engineering design. However, creativity and engineering remains as an open question. We study several creative learning approaches from various perspectives and then we propose an implementation model into the engineering academic programs
Design for learning: communities and flexible design processesdavinia.hl
DESIGN FOR LEARNING: COMMUNITIES AND FLEXIBLE DESIGN PROCESSES
U. Sydney, CoCo Research Seminar
In this seminar, the presenter will deliver a short overview of the learning-technologies research being conducted by the Department of Infomation and Communication Technologies of the Universitat Pompeu Fabra in Barcelona. The focus will be the results of the METIS European inservice teacher-training project, which aims at promoting the adoption of design approaches enabling educators to act as (co-)designers of sound (technology-supported) learning activities. The presenter, Associate Professor Davinia Hernández-Leo will, in particular, introduce the Integrated Learning Design Environment (ILDE), a community environment that integrates:
- co-design support for educator communities
- learning design editors following different authoring and pedagogical approaches
- interface for deployment of designs on mainstream virtual-learning environments.
ILDE has been used in a variety of community contexts, each of them applying different design processes supported by combinations of selected integrated tools.
http://sydney.edu.au/education_social_work/news_events/events/2015/Semester-One/design-for-learning.shtml
Presentation by Tunde Varga-Atkins at the Methods@Manchester Methods Fair on Creativity in Social Science Research, recorded session available on YouTube (https://www.youtube.com/watch?v=E9tF0C-75A8)
Applying and translating learning design and analytics approaches in your ins...Bart Rienties
This interactive workshop delivered by the University of Zagreb, Faculty of Organisation and Informatics (UZ) and the Open University UK (OU) will build on two large-scale implementations of learning design and learning analytics, and how you could potentially implement similar approaches in your institution. The OU has been implementing learning design for nearly 20 years as a structured design, specification, and review process for blended and online courses. The learning design is focused on "what students do" as part of their learning, rather than on "what teachers do" or on what will be taught.
Building on this work, UZ has recently developed the Balanced Design Planning (BDP) tool specifically for educators working in hybrid and blended contexts. The tool is more focused on intended learning outcomes and automated learning analytics and is currently being developed, tested, evaluated and implemented with 1000+ practitioners from dozens of institutions in 20+ countries as part of four European projects (eDesk, Teach4EDU, RAPIDE, iLED), and is publicly available for other institutions to use for free. It has been shown by studies conducted by OU and UZ that when these learning design (LD) approaches are used, they help educators to make real-time informed decisions based on learning analytics (LA) and improve the predictive modelling of student behaviour.
Attendees should bring their laptop for this workshop session.
Bart Rienties, Professor in Learning Analytics, Institute of Education Technology, The Open University
ASCILITE Webinar: A review of five years of implementation and research in al...Bart Rienties
Date and time: Wednesday 20 September 2017 at 5pm AEST
Abstract: The Open University UK (OU) has been one of few institutions that have explicitly and systematically captured the designs for learning at a large scale. By applying advanced analytical techniques on large and fine-grained datasets, we have been unpacking the complexity of instructional practices, as well as providing empirical evidence of how learning designs influence student behaviour, satisfaction, and performance. This seminar will discuss the implementation of learning design at the OU in the last 5 years, and reviews empirical evidence from several studies that have linked learning design with learning analytics. Recommendations are put forward to support future adoptions of the learning design approach, and potential research trajectories.
https://ascilite.org/get-involved/sigs/learning-analytics-sig/
www.bartrienties.nl
Excerpts from the book: Heller, S., Talarico, L. (2009). Design School Confidential: Extraordinary Class Projects From the International Design Schools. United States: Rockport Publishers.
Brecht, B. (1978). Brecht on Theatre: The Development of an Aesthetic. United Kingdom: Hill and Wang.
Epic Theatre
Alienation Effect
The Instructive Theatre
Theatre and Knowledge
Experimental Theatre
Rational and Emotional
Elements of Illusion
Simulation (or Computation) and its DiscontentsR. Sosa
20+ key ideas from Sherry Turkle's 2009 book. Highly recommended.
Funny how Slideshare forces people to pick one category for a presentation. This is as much about design as it is about education, technology, etc.
Van aquí fragmentos de este libro escrito por el gran Adolfo Sánchez Vázquez y publicado en 1965 con algunas ideas que con los años se han hecho cada vez MÁS relevantes e importantes para entender el diseño. Queda mucho por hacer para conectar estas ideas y desarrollarlas, mucho ha pasado en estos 80 años.
Key excerpts from the book “Māori Philosophy, Indigenous Thinking from Aotearoa” by Georgina Tuari Stewart, 2021. Chapter 5 is succinct but highly recommended
How to Split Bills in the Odoo 17 POS ModuleCeline George
Bills have a main role in point of sale procedure. It will help to track sales, handling payments and giving receipts to customers. Bill splitting also has an important role in POS. For example, If some friends come together for dinner and if they want to divide the bill then it is possible by POS bill splitting. This slide will show how to split bills in odoo 17 POS.
Students, digital devices and success - Andreas Schleicher - 27 May 2024..pptxEduSkills OECD
Andreas Schleicher presents at the OECD webinar ‘Digital devices in schools: detrimental distraction or secret to success?’ on 27 May 2024. The presentation was based on findings from PISA 2022 results and the webinar helped launch the PISA in Focus ‘Managing screen time: How to protect and equip students against distraction’ https://www.oecd-ilibrary.org/education/managing-screen-time_7c225af4-en and the OECD Education Policy Perspective ‘Students, digital devices and success’ can be found here - https://oe.cd/il/5yV
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
We all have good and bad thoughts from time to time and situation to situation. We are bombarded daily with spiraling thoughts(both negative and positive) creating all-consuming feel , making us difficult to manage with associated suffering. Good thoughts are like our Mob Signal (Positive thought) amidst noise(negative thought) in the atmosphere. Negative thoughts like noise outweigh positive thoughts. These thoughts often create unwanted confusion, trouble, stress and frustration in our mind as well as chaos in our physical world. Negative thoughts are also known as “distorted thinking”.
How to Create Map Views in the Odoo 17 ERPCeline George
The map views are useful for providing a geographical representation of data. They allow users to visualize and analyze the data in a more intuitive manner.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
The Indian economy is classified into different sectors to simplify the analysis and understanding of economic activities. For Class 10, it's essential to grasp the sectors of the Indian economy, understand their characteristics, and recognize their importance. This guide will provide detailed notes on the Sectors of the Indian Economy Class 10, using specific long-tail keywords to enhance comprehension.
For more information, visit-www.vavaclasses.com
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
2. 150 Slides, 12 Activities in 6 hours
1. Defining and evaluating
design
2. Metamorphosis
3. Framing problems in (diverse)
teams
4. Cultivating awareness
5. Power of representations
6. Pizza
7. Empathy and insights
8. Functions and programs
9. Briefs
10.Creativity techniques and
habits
11.Studio learning and teaching
12.Survey
3.
4.
5.
6.
7. Papers used to prepare 3.007:
Design pedagogy:
- Dutton, T. A. (1987). Design and studio pedagogy. Journal of Architectural Educ, 41(1), 16-25.
- Dally, J. W., & Zhang, G. M. (1993). A freshman engineering design course. J of Eng Educ, 82(2), 83-91.
- Brady, D. A. (1996). The education of an architect: continuity and change. J of Arch Educ, 50(1), 32-49.
- Sheppard, S., Jenison, R., Agogino, A., Brereton, M., Bocciarelli, L., Dally, J., & Faste, R. (1997). Examples of
freshman design education. Int J of Eng Educ, 13(4), 248-261.
- Burton, J. D., & White, D. M. (1999). Selecting a model for freshman engineering design. J of Eng Educ, 88(3),
327-332.
- Dym, C. L. (1999). Learning Engineering: design, languages, and experiences. J of Eng Educ, 88(2), 145-148.
- Little, P., & Cardenas, M. (2001). Use of “studio” methods in the introductory engineering design curriculum. J
of Eng Educ, 90(3), 309-318.
- Kuhn, S. (2001). Learning from the architecture studio: Implications for project-based pedagogy. Int J of Eng
Educ, 17(4/5), 349-352.
- Wood, K. L., Jensen, D., Bezdek, J., & Otto, K. N. (2001). Reverse engineering and redesign: courses to
incrementally and systematically teach design. J of Eng Educ, 90(3), 363-374.
- Atman, C. J., Cardella, M. E., Turns, J., & Adams, R. (2005). Comparing freshman and senior engineering design
processes: an in-depth follow-up study. Design Studies, 26(4), 325-357.
- Wang, T. (2010). A new paradigm for design studio education. International Journal of Art & Design Educ, 29(2),
173-183.
- Frascara, J., & Noël, G. (2012).What's Missing in Design Educ Today?. Visible Language, 46.
- Friedman, K. (2012). Models of Design: Envisioning a Future Design Educ. Visible Language, 46.
- Froyd, J. E., Wankat, P. C., & Smith, K. A. (2012). Five major shifts in 100 years of engineering education.
Proceedings of the IEEE, 1344-1360.
Cross-disciplinary design:
- Howard, J. (1997). In Search of the Sweet Spot: Engineering, Arts, and Society in Design Curricula. Department of
Science and Technology Studies, Rensselaer Polytechnic Institute.
- Schumacher, J., & Gabriele, G. A. (1999). Product design and innovation: a new curriculum combining the
humanities and engineering. Frontiers in Educ Conf. (V1, 11A6-19). IEEE.
- Hirsch, P. L., Shwom, B. L., Yarnoff, C., Anderson, J. C., Kelso, D. M., Olson, G. B., & Colgate, J. E. (2001).
Engineering design and communication: The case for interdisciplinary collaboration. Int J of Eng Educ, 17(4/5),
343-348.
- Bronet, F., Eglash, R., Gabriele, G., Hess, D., & Kagan, L. (2003). Product design and innovation: evolution of an
interdisciplinary design curriculum. Int J of Eng Educ, 19(1), 183-191.
- Reimer, Y. J., & Douglas, S. A. (2003). Teaching HCI design with the studio approach. Computer Science Educ,
13(3), 191-205.
- Goff, R. M., Vernon, M. R., Green, W. R., & Vorster, C. R. (2004, October). Using design-build projects to
promote interdisciplinary design. In Frontiers in Educ, 2004. FIE 2004. 34th Annual (pp. S3C-27). IEEE.
- Ollis, D. F. (2004). Basic elements of multidisciplinary design courses and projects. Int J of Eng Educ, 20(3), 391-
397.
- D'souza, N. S. (2006). Design intelligences: a case for multiple intelligences in architectural design (PhD
dissertation, University of Wisconsin-M).
- Greenberg, S. (2009). Embedding a design studio course in a conventional computer science program. In
Creativity and HCI: From Experience to Design in Educ (pp. 23-41). Springer US.
- De Vere, I., Melles, G., & Kapoor, A. (2010). Product design engineering–a global education trend in
multidisciplinary training for creative product design. European Journal of Engineering Educ, 35(1), 33-43.
- Cennamo, K., Brandt, C., Scott, B., Douglas, S., McGrath, M., Reimer, Y., & Vernon, M. (2011). Managing the
Complexity of Design Problems through Studio-based Learning. Interdisciplinary Journal of Problem-based
Learning, 5(2).
Design methods and teams:
- Hitchings, G., & Cox, S. (1991). Designing a Course in Design Methods. Journal of Engineering Design, 2(4), 337-
349.
- Atman, C. J., & Bursic, K. M. (1996). Teaching engineering design: Can reading a textbook make a difference?.
Research in Engineering Design, 8(4), 240-250.
- Jensen, D. D., Murphy, M. D., & Wood, K. L. (1998). Evaluation and refinement of a restructured introduction to
engineering design course using student surveys and MBTI data. ASEE Annual Conf.
- Sachs, A. (1999). ‘Stuckness’ in the design studio. Design Studies, 20(2), 195-209.
- Atman, C. J., Chimka, J. R., Bursic, K. M., & Nachtmann, H. L. (1999). A comparison of freshman and senior
engineering design processes. Design Studies, 20(2), 131-152.
- Ogot, M., & Okudan, G. E. (2006). Integrating systematic creativity into first-year engineering design. Int J of Eng
Educ, 22(1), 109.
- Hirsch, P. L., & McKenna, A. F. (2008). Using reflection to promote teamwork understanding in engineering
design education. Int J of Eng Educ, 24(2), 377-385.
- Atman, C. J., Kilgore, D., & McKenna, A. (2008). Characterizing design learning: A mixed‐methods study. J of Eng
Educ, 97(3), 309-326.
- Sosa, R. and Albarran, D. (2008) Supporting idea generation in design teams, Engineering and Product Design
Educ (EPDE’08).
Design reviews, crits and assessments:
- Shannon, S. J. (1995). The studio critique in architectural education (Doctoral dissertation, University of
Adelaide).
- Uluoǧlu, B. (2000). Design knowledge communicated in studio critiques. Design Studies, 21(1), 33-58.
- Sara, R., & Parnell, R. (2004). The review process. Transactions, 1(2), 56-69.
- Thompson, A., Sattler, B., & Turns, J. (2011, October). Understanding a studio environment: A complex system
approach to a community of practice. In Frontiers in Educ Conference (FIE), 2011 (pp. F3H-1). IEEE.
- Dannels, D. P., & Martin, K. N. (2008). Critiquing critiques a genre analysis of feedback across novice to expert
design studios. Journal of Business and Technical Communication, 22(2), 135-159.
- Charyton, C., & Merrill, J. A. (2009). Assessing general creativity and creative engineering design in first year
engineering students. Journal of Engineering Educ, 98(2), 145-156.
- Goldschmidt, G., Hochman, H., & Dafni, I. (2010). The design studio “crit”: Teacher–student communication.
Artificial Intelligence for Engineering Design, Analysis and Manufacturing, 24(3), 285-302.
- Strickfaden, M., & Heylighen, A. (2010). Scrutinizing design educators' perceptions of the design process.
Artificial Intelligence for Engineering Design, Analysis and Manufacturing, 24(3), 357-366.
8. Teaching design since 1999:
- NUS, Singapore
- USYD, Australia
- ITESM, Mexico
- UAM, Mexico
- U Azuay, Ecuador
- Isthmus, Panama
- SUTD, Singapore
- ACI/NTU, Singapore
- AUT, New Zealand
12. Defining design: cases
• Select one design that you
consider great
• Write down what specifically
makes it so great
• If relevant, apply your
disciplinary knowledge to
explain
• Select 3 criteria that captures
the greatness of that design
15. YikeBike is a statement about using smart
technology to solve the problems of our
increasingly congested, polluted,
stressful cities.
It is the first commercial expression of
the mini-farthing concept, created up by
a bunch of successful entrepreneurs,
engineers and dreamers.
We sat down to try and answer:
1. What is the simplest way to get from
A to B with the aid of a machine?
2. What is the smallest wheel you can
have to get a stable, safe,
comfortable ride?
3. Can you make something small
enough to be able to go with you
anywhere in a city?
4. Wonder if we could make a unicycle
dramatically easier to ride and fold?
Evaluating and Grading Design: Try it out!
$2,000 USD - $3,000 USD
http://www.yikebike.com/
Drive: Electric
Brushless DC motor
Battery: LiFePO4 -
40 min re-charge
Speed: 23 km/h
Range: 10 km
16. 1.“More information didn’t change my evaluation significantly”
2.“New information made my evaluation increase”
3.“New information made my evaluation decrease”
4.“The one type of information that significantly changed my
evaluation was ______”
24. Share experiences and challenges
Memorable experiences learning/teaching design
Main challenges learning/teaching design
25. available information
time into design project
% from total
20 40 60 80 100
design freedom
In other words, in design, innovation and entrepreneurship you start making decisions under high
uncertainty, and one of your aims becomes to obtain information throughout the process. Alas, you will
never have full information about a really novel idea.
26. What is design? It's where you stand with a foot in two worlds - the world of
technology and the world of people and human purposes - and you try to bring the
Mitchell Kapor, entrepreneur (1950-)
Recognizing the need is the primary condition for design.
two together.
Charles O. Eames, designer (1907-1978)
To invent, you Thomas A. Edison, inventor (1847-1931) need a good imagination and a pile of junk.
A designer is an emerging synthesis of artist, inventor, mechanic, objective
economist and evolutionary strategist.
Richard Buckminster Fuller, architect,
designer and inventor (1895-1983)
Engineering, medicine, business, architecture and painting are concerned not with the necessary but with the contingent - not
with how things are but with how they might be - in short, with design.
Herbert A. Simon, economist, computer scientist (1916-2001)
27. Design is a funny word. Some people think design means how it looks. But of
course, if you dig deeper, it's really how it works.
Steven P. Jobs, entrepreneur (1955-2011)
A great building must begin with the unmeasurable, must go through measurable means when it is
being designed and in the end must be unmeasurable
Louis Kahn, architect (1901-1974)
Necessity is often not the mother of invention. When humans possess a tool, they excel at finding new
uses for it. The tool often exists before the problem to be solved
David E. Nye, historian (1946-)
Form follows function - that has been misunderstood.
Form and function should be one, joined in a spiritual union.
Frank Lloyd Wright, architect (1867-1959)
The practice of design is a very complicated business, involving contrasting skills and a wide field of disciplines. It has always
required an odd kind of hybrid to carry it successfully
Bruce Archer, engineer and designer (1922-2005)
28. "you're sitting on a gold mine!“
http://www.youtube.com/watch?v=ZOF-j6Nxm04
“What we are trying to do… is remove that barrier”
http://www.youtube.com/watch?v=0lvMgMrNDlg&t=6m43s
“the germ of the idea was there”
http://www.youtube.com/watch?v=vpMeFh37mCE
Xerox could have owned the entire computer industry
http://www.youtube.com/watch?v=_1rXqD6M614
“That perspective is what gives us the feeling…”
31. The value of prototyping: One reason why kids
do better than business school students is they
spend more time playing and prototyping.
Adults spend a vast amount of time planning,
then executing on the plan, with almost no time
to fix their design once they put the
marshmallow on top
http://marshmallowchallenge.com/Instructions.html
32. This is a metaphor for the hidden assumptions of a
project: that marshmallows are light and fluffy and
easily supported by the sticks.
Kids naturally start testing their designs with the
marshmallow on top. Adults tend to wait until the end
to place the marshmallow. After the structure is built, it
becomes clear that it is not so light!
We need to identify the assumptions in our project -
the real customer needs, the cost of the product, the
duration of the service - and test them early and often
http://marshmallowchallenge.com/Instructions.html
33. Reflect:
- Your role, strengths and behaviour during the activity
- Interaction with your teammates
- Communication
- Agreements, negotiation, synergies
- What other teams did
- Understanding, interpreting, planning and executing plans
- Unexpected events and recovery
- Action plan for the term project
34. Evaluate & refine
Not so well-framed problems:
1. “I want to help people lower their
energy consumption by automating
lights at home”
2. “Students need a system to locate
their lecturers outside class hours”
3. “Buildings should promote
courteous behaviours between
dwellers”
4. “We will design a baby stroller that
harvests energy”
5. “The efficiency of garbage collection
(cleaners) needs to be increased”
Well-framed problems:
1. “How to help people optimise
energy consumption at home”
2. “How can we help (what type?)
students clarify doubts outside
class hours?”
3. “Physical environment is not
conducive for positive
interactions among dwellers”
4. “How may a lengthy daily
activity harvest energy?”
35. What people… Methods Knowledge
Say
Do
Know
and feel
Interviews
Observation
Generative
sessions
Explicit
Tacit
Latent
Deep Surface
Adapted from: maketools.com
37. Introduction to Design 3.007 design.sutd.edu.sg
AEIOU framework:
- Activities: goal-directed actions. What are the modes people work in, and the specific
activities and processes they go through?
- Environments: arena where activities take place. What is the character and function
of the space overall, of each individual's spaces, and of shared spaces?
- Interactions: between people or with designs. What is the nature of routine and
special interactions between people, between people and objects in their
environment, and across distances?
- Objects: building blocks of environment, artefacts, spaces. What are the objects and
devices people have in their environments and how do they relate to their activities?
- Users: people whose behaviours, preferences, and needs are being observed. Who is
there? What are their roles and relationships? What are their values and prejudices?
http://help.ethnohub.com/guide/aeiou-framework
38. AEIOU Description (what is) Analysis (why it is) Questions, insights
Comparison to
assumptions, to other
situations and to
notes by other
observers
Activities
Environments
Interactions
Objects
Users
39. Share experiences and challenges
Memorable experiences in observation
Main challenges in observation
41. Introduction to Design 3.007 design.sutd.edu.sg
Idea sketching:
- Not artistic drawing
- A universal skill to think and communicate (like writing)
- Speed is more important than accuracy or artistry
- Learn to sketch:
- To observe and interpret
- To think and conceptualise
- To generate and develop ideas
- To communicate and convince
43. Thomas Edison
J. Utzon
Frank Gehry
http://www.brookbanham.com/sketches
A. G. Bell
Key idea is: speed sketching is NOT about aesthetic quality, but seeing/thinking/communicating in more and flexible ways to represent ideas
65. Interviewing activity:
1. Form triads (A, B, C) where the following roles are assigned: interviewer,
interviewee and observer
2. Roles:
1. The interviewer conducts a natural conversation with the interviewee
to obtain information defined by the instructors.
2. The interviewee engages in the conversation facilitated by the
interviewer, responding openly and as naturally as possible.
3. The observer remains silent analysing the conversation, taking notes
of the process: how the interviewer starts and stirs the dialogue, how
the questions succeed/fail to engage the interviewee.
3. Activity:
1. Form triads A, B, C. The instructors will define the roles and request
that interviewees leave the room for 3 minutes. The instructors share
with interviewers and observers what is the theme for today’s
exercise, and they discuss and prepare a strategy and guiding
questions to conduct the interview.
2. Interviewees enter the room, and the groups start the interview
process. Observers are strictly barred from talking, gesturing or in any
way communicating or interfering in the interview. Their role is
unobtrusive and passive, taking notes of the flow of the process
(successful and unsuccessful ‘moves’). Interviewers take note of the
most important responses and write down new questions to ask.
3. After 15 minutes, the interviews stop and each of the participants
writes down their experience, aided by the prompts provided here.
4. Share lessons learned and questions
Prompts:
- For interviewees:
- What part(s) of the conversation made you feel comfortable and to
open up, reflect and share your ideas?
- What part(s) of the conversation were uncomfortable or awkward and
made the interview less effective or enjoyable?
- What would you have done differently if you were the interviewer?
- What are good ways to make someone feel that you are really listening
to what they are saying?
- For interviewers:
- What worked or didn’t work from your initial strategy or plan to run
the interview?
- What do you think worked or didn’t work to make the interviewee
open up and share their ideas?
- What would you do differently next time you interview someone?
- For observers:
- What part(s) of the conversation do you think were more effective?
- What part(s) of the conversation do you think were less effective?
- What do you think that the interviewer could have done differently?
- What do you think that the interviewee could have done differently?
- Why do you think it is difficult to interview people in general?
- Why do you think it is useful to interview people in general?
- For all:
- How are interview questions different from survey questions?
66. Questions to ask yourself when planning an interview or a survey:
- Can I get this information in easier or more reliable ways? (Census, published studies,
estimates)
- What do I want to find out with this activity?
- Who should we talk to? Am I avoiding sample biases?
- How can we approach people to build trust and obtain meaningful responses?
- How might the interviewee feel engaged or offended or interested in this dialogue?
- How would I feel if someone asked me these questions? How can my intent be
misunderstood?
- What ethical risks am I taking? What assumptions are we making?
- How many people do we need to talk to?
- Have we piloted our questions? Are they clear?
- How can we critically analyse what people told us? What didn’t they tell us?
- Do the responses simply confirm my own biases and ideas? Or do they reveal new,
unexpected issues?
- Why are these responses so consistent/inconsistent, short/long, clear/confusing,
expected/unexpected?
- Are these responses useful to reveal and clarify issues, or can we justify conclusions from
them?
67. How often do you use it?
Do you know how to do __
function?
What problems do you have?
Do you like it?
Which one do you prefer?
How do you use it?
Please teach me how to do __
function
Troubleshoot problem ___
What do you like/annoys you most?
Compare
68. How many hours do you sleep?
Do you feel rested in the morning?
Do you have insomnia?
Would you like to track your sleep
patterns?
Do you think you get
less/average/more sleep than your
peers? Why is that?
Would you like to change something
about your sleep?
69. “ The problem/issue our team is interested is: __________________________”
Human
Personal
Society
Physical
Psychological
Emotional
Safety
Usability
Time
Growth
Change
Movement
Flows
Interactions
Cycles
Operation
Environment
Context
Resources
Climate
Waste
Transportation
Footprint
Pollution
Economy
Finance
Profits
Distribution
Labour
Costs
Income
Culture
History
Institutions
Political
Laws and rules
Traditions
Power
Information
Aesthetic
Form
Meaning
Perception
Experience
Composition
Proportion
Technology
Materials
Systems
Knowledge
Access
Functions
Energy
Science
Others
…
70. Sample questions:
Food:
1. How would you use food to introduce your own culture to your friends?
2. What guides your decision in your choice of food? (general)
3. What are the factors you consider when preparing meals for your family? (assumptions)
4. What are some food which you should avoid yet continue to eat?
5. What do you think are the sickness/disease eating this food?
6. Would you like to change your eating patterns?
7. How health conscious are you about the choice of what you eat? (pressure)
8. How does the presentation of food affect your appetite?
9. How does the material of your eating utensils affect your appetite?
Sleep:
1. How often do you feel tired in the morning?
2. What activities do you do before you sleep?
3. What is your sleeping position?
71.
72. Share experiences and challenges
Memorable experiences cultivating empathy
Main challenges cultivating empathy
74. Activity Diagrams: Hotel check-in
The green diagram models the current customer
experience of entering a hotel where guests
(family) arrive through the entrance, split during
check-in such that one person checks in and the
rest can wait in the lobby; and finally after check-in
the family goes to the hotel room together.
Challenge elements and relationships; think of
alternatives. For example, reverse the main person
flow from entrance to the reception triggers an
idea of having the receptionist walk to the arriving
family instead.
Complete the check-in process in the hotel room
thus eliminating the lobby function.
Reception
Entrance
Lobby
Hotel room
Reception
Hotel room
Family
Entrance
Family
Rest of the
family
One person
One
person
Family
Family
Receptionist
Rizal Muslimin
75. Strategy: Reversal
LOUNGE
SEAT &
CHECK IN
ROOM
REST
RECEPTIONIST
GATE
ENTER
Reverse the direction in the relationship
Instead, make the receptionist approach the guest
83. From problems to strategies to solutions
Engineering Design and Communication. Principles and Practice. Yarnoff et al., Northwestern University
Basic parts of a design brief:
1.Goals and vision of the new design
2.Budget and schedule
3.Target audience and scope of the
project
4.Analysis of precedents, functions,
activities
5.Requirements
6.Constraints including resources and
time
7.Deliverables and deadlines
webdesignerdepot.com
84. Oakley Disruptive By Design Competition Brief:
“Create an innovative design that will disrupt elite sports performance in a way
that hasn’t been seen before. It needs to be an idea that's more than just an
adaptation of an existing approach. It needs to be something new and radical.
Something that is truly Disruptive by Design. The most disruptive ideas come
from unfamiliar and unexpected places. Take inspiration from the wider world:
nature, aerospace, architecture, science fiction. There should be no limits to
your sources. There are also no restrictions on the format of the design. It could
be a product, a garment, a new way to use technology, a digital design, or
something entirely new that responds to or enhances elite sports performance.
Prove that you have what it takes to be one of the disruptors of the future, and
you could win the opportunity to immerse yourself in the R&D culture at
Oakley’s Design HQ in California, USA.” More: disruptivebydesign.com
85. “…when I first entered the company I often said that I wanted
to make the sort of games you could play with your
grandmother. I had an image of games not feeling out of place
in the living room. Of course, this could have been around the
fireplace, at the dining table, the coffee table, or anywhere. I
just wanted to make a game that would be fun for the entire
family. I've found myself sitting all alone, starting up a game and
feeling a bit cut off from the world. I wanted to change this.
That is, I wanted to make gaming a little less lonely. In my
mind, the Wii Remote belongs on the coffee table. I spent a
long time discussing with a whole range of people about what
we could do to achieve this”
Listening to everyone here talk about Wii reminds me that the
most important thing was clearly defining our vision. Even if it
was a vision without a precedent.”
iwataasks.nintendo.com/interviews/#/wii/wii_channels/0/0
86. Strategies that are too general:
1. Child obesity in Singapore
2. People want to optimise energy usage but find current solutions difficult to install and
use
3. To help youngsters develop teamwork skills
4. Reduce water consumption in washing machines for the home
5.Many elderly suffer social isolation
6. Incentivise courteous behaviour in the subway (MRT)
Strategies that are too specific
1. To design a GPS-enabled game to make children do exercise
2. ‘DIY plug-and-play’ sensors to automate lights eliminating need of expensive
installations
3. Design fun activities (games) to teach youngsters teamwork
4. Design a waterless and ozone-based laundry system for the home
5.Make elderly go out and socialise more
6. Use augmented reality to promote proper use of reserved seating in the subway (MRT)
87. Evaluate & refine
Poor requirements:
1. The product should be lightweight
2. This product needs to be safe
3. The product should be user-friendly
4. The product needs to be low cost
5. The design needs to be sustainable
www.sciencebuddies.org/engineering-design-process/design-requirements-examples.shtml
Better requirements:
1. The product…
89. Rules of brainstorming
Individually list the main rules of brainstorming
Consolidate in teams and present
90. Brainstorming rules
[Can be used to explore
problem and/or solutions]
1. Define goals and keep focus
2. Set time limit (max 20’)
3. Maximise quantity: a storm of
ideas
4. Defer evaluation: no judging,
no criticising, no praising
5. Build on the ideas of others:
combine, improve and
transform ideas (1+1=3,
opposite of green?)
6. Prioritise unusual, wild, crazy
and silly ideas
7. Flat hierarchies
8. Learn to listen
9. Decompose and mix ideas
10. Take turns, take individual
notes
11. Capture ideas (writing,
sketching, audio record)
12. Avoid claiming ownership
13. Build rapport
92. C-Sketch (N-3-5)
Collaborative Sketch:
- N individuals form a team, they sketch 3 or more ideas on a
large format paper and pass their drawings every 5 minutes
until one cycle is completed
- Participants are encouraged to draw on others' ideas for
inspiration, thus stimulating the creative process
- Ambiguity, re-interpretation and re-representation are
supported by this technique
- Activity is strictly run in complete silence
93.
94. Suggestions to cultivate creativity beyond the use of techniques:
• Become an avid learner across traditional disciplines (and unlearn a few things, too)
• Make things, build stuff (and break apart others)
• Sketch and write down your ideas
• Cultivate analogical/metaphorical reasoning
• Be curious, inquisitive and persevere, question everything
• Identify your strengths, find your own way
• Learn to collaborate, find partners and accomplices
• Try new things once in a while, if possible visit or travel to unexpected places
• Talk to strangers, watch and read unfamiliar topics
• Improvise, be flexible, adapt and don’t be afraid to change your mind
• Ask questions, value feedback, learn to listen
• Learn a few techniques and practice, practice, practice
95. “a bestselling book on creativity for people
who do not like books on creativity”
96. “You cannot prove from past data whether any new thing in the world – any
new idea or innovation – will work. Managers are inclined when someone
puts forth with a new idea to respond, “Prove it in order for me to go
forward”. That’s what a good manager does these days – he or she is
analytical and asks for proof. But since you can’t prove a new idea in
advance, all the new ideas are viewed as dangerous and problematic
because they aren’t provable.”
Roger Martin,
Dean of Rotman School of Management
101. Introduction to Design 3.007 design.sutd.edu.sg
Early evaluation
Desirability
Feasibility Viability
102. DATUM OPTION 1 OPTION 2 OPTION 3
Swivel Chair w/
Hinge Leg
Hydraulic
Swivel Chair
Shower Grips Tub Door
Sketches
0 + +
- + 0
0 + -
0 - +
+ - 0
CRITERIA
Aesthetics
Intuitive use 0 + 0
- + 0
0 + 0
- 0 0
0 + +
0 + 0
Total + 0 1 8 3
Total 0 0 7 1 7
Total - 0 3 2 1
0 -2 6 2
Space required
Universal
TOTAL
DATUM
Cost (low preferred)
Ease of installation
Safety in use
Ease of entering/exiting tub
Ease of maintenance
Bathing comfort
Noise
OPTION New
Seating ledge
+
+
+
0
0
+
+
+
0
0
+
7
4
0
7
Preliminary concept rating using a Pugh chart including adding a new concept after “attacking the negatives”
The essence of using a Pugh chart
is to define the evaluation criteria
based on your requirements,
assess a selected set of concepts
against those criteria, discuss the
assessment and results as a team,
improve the concepts by attacking
the negatives and finally select one
or few concepts for further
exploration. For this early rating , it
is advisable to start with a minimal
ranking scale of {+, 0, -} and
compare the concepts against a
‘datum’ (usually a competitor’s
product or the current solution).
103. One Selection Tool + a few Objections
Video: “The Concept Selection Matrix” by K. Ulrich
Https://class.coursera.org/design-002/lecture/40
“You shouldn’t get too excited” (08:46)
“We can’t reduce everything to a quantitative evaluation” (11:20)
103
104. "both quantitative and
qualitative factors must be
taken into account…
Design is a messy kind of
business that involves
making value judgements
between alternatives”
104
105. Things to consider…
• Engage in open team discussions when defining the matrix (rows and
columns)
• Be careful of aggregate criteria, when relevant: decompose, clarify, prioritise
• Upon difficulties and conflicts, establish ground rules and repeat the activity
• Distinguish between objective and subjective indicators, define them
carefully. Beware of: “we usually measure what is easy to measure, not
necessarily what is important”
• Don’t focus on the values themselves, use them to talk about the ideas and
what is truly important in a holistic way
• Work across teams: get feedback from people who are not familiar with
your project
105
115. Key Q’s What needs testing?
Scale, assemblies and materials?
Structural behaviour and costs?
Physical or virtual prototype?
Decisions to build model/prototype:
materials, processes, time, modifications…
Appearance or functionality or usability?
Parallel or serial prototypes?
Available resources? Learning?
Persuasiveness?
122. 2mg
Mg
How much force is
on this support?
What diameter
should it be?
What clearance is
needed here?
http://mathworld.wolfram.com/BookStackingProblem.html
129. One-off piece or mass production?
Unitized?
Stand alone units
Modular?
Plug In Units
Support
Structure
What happens if many
together
Just stand next
to one another
Could they be
interlocking?
130. Material affective and performance properties?
Energy/Cost? Weight? Strength?
Texture? Colors?
Haptics?
131. So what is the difference, impact, innovation etc?
132. A
B
C
http://25.media.tumblr.com/935fa0bd19cd7f4edfcb7528cffd21ad/tumblr_mga6unWcNt1rgmlf9o1_1280.jpg
Ford Model T
http://www.gutenberg.org/ebooks/7213
F K N R S
http://www.goldcoastmodela.com/Early_Ford.pdf
http://www.mtfca.com/discus/messages/331880/347933.html?1363551928
144. Fernando Prieto, Ricardo Sosa. “TetraBus”: Children Museum on Wheels. Client: Tetra Pak Mexico (1996-1997)
145.
146. Co-Design and Low-Fidelity
Prototyping: Immediate and sketchy
3D representations using paper,
cardboard and any available parts
http://www.studiotilt.com/blog/2011/02/03/the-hub-kings-cross-co-design-workshop/
http://paipr.wordpress.com/projects/rapid-low-fi-prototyping/
http://www.robives.com/blog/swinging_legs_experiment
152. Individual Survey
- Reflection of initial ‘word association’ exercise
- Main departure(s) from “Metamorphosis” survey?
- Main learning today (3 ideas from course, peers, own)
- Main To-Do items from today (“I need to…”)
153. • “Achieving a good aesthetic (appearance)
of products is the main purpose of design”
• “A good designer achieves an optimal (the
best) solution”
• “Great designers educate the public on
what they need/desire”
• “Products that are aesthetically pleasant
are well-designed products”
• “The design process can be highly
systematised by methods and techniques”
• “Good design decisions are based on
measurable factors and indicators”
• “The decisions that really matter in the
design process aren’t measurable at all”
• “Good designers should spend little time in
framing a problem and most of their effort
in generating solutions”
• “Mediocre designers often change the
problem, requirements and constraints
given to them in the brief or contract”
• “Mediocre designers tend to work in
several projects at the same time,
combining ideas between projects”
• “Curiosity is the most important part of the
design process”
• “The success of a product in the
marketplace is caused mainly by its high
quality and design”
• “In a team, it is easy to spot the great ideas
contributed by the most creative
designers”
154. Design methods, techniques and tutorials:
- Hanington, B. and Martin, B. (2012) Universal Methods of Design, Rockport
- Dym, C.L. and Little, P. (2009) Engineering Design, John Wiley & Sons
- Kumar, V. (2013) 101 Design Methods, John Wiley & Sons
- Sanders, E. and Jan Stappers, P. (2012) Convivial Toolbox, BIS Publishers
- Smulders, F., Brehmer, M. and van der Meer, H. (2014) Teamworks by students, for
students, Mosaic.
- Human-centred design toolkit by IDEO
- Experience Workbook, California College of the Arts
- Design Council UK methods: www.designcouncil.org.uk/news-opinion/introducing-design-
methods
- Design and Communication course at Northwestern
- Google Design Sprint: www.gv.com/lib/the-product-design-sprint-a-five-day-recipe-for-startups
- Design Manifestos: backspace.com/notes/2009/07/design-manifestos.php
- Design: Creation of artifacts in society by Karl T. Ulrich, University of Pennsylvania, 2011
- The Design of Design: Essays from a Computer Scientist by Frederick P. Brooks Jr.,
Addison-Wesley Professional, 2010
- MindTools techniques: mindtools.com
- Design Methods: dschool.stanford.edu/use-our-methods
- Folding Techniques for Designers: From Sheet to Form. Paul Jackson
Inspiring talks:
- David Goldberg engineering education: youtu.be/Rp9PfqUQ8a4
- Plus-ing: www.edutopia.org/randy-nelson-school-to-career-video
- Learn to pivot: www.fastcompany.com/1836238/how-eric-ries-coined-pivot-and-what-your-
business-can-learn-it
- The Story of stuff: www.storyofstuff.org
- Ken Robinson on creativity: www.ted.com/speakers/sir_ken_robinson
- Bran Ferren art and engineering: www.ted.com/speakers/bran_ferren
- C. Downey design with the blind in mind: ted.com/speakers/chris_downey
- John Maeda art, design and technology: ted.com/speakers/john_maeda
- Alastair Parvin WikiHouse: www.wikihouse.cc
- J. Hockenberry we are all designers: ted.com/speakers/john_hockenberry
Design apps, portals and resources:
- Massive Change Network: www.massivechangenetwork.com
- Aviary: www.aviary.com
- Blender 3D: blender.org
- SketchUp 3D: sketchup.com
- Architecture for humanity: architectureforhumanity.org
- Product design articles: www.core77.com/reactor
- 99% perspiration: 99u.com/articles
- Architectural Digest: www.architecturaldigest.com
- Lean StartupMeets Design Thinking: youtube.com/watch?v=bvFnHzU4_W8
- Recommended apps:
- Color Scheme Generator by wanobano
- Color Harmonizer by Brandon Burton
- 6 Thinking Hats by Zmok
- IdeaCard by crevatelab
- Create-O-Mat by gagarin
- Idea Growr by Julius Huijnk
- Patent Search Free by CRinUS
- GanttMan by Martin doudera
- Alarm Clock Plus by Binary Tactics
- Studio Design by Overlay
- Moldiv by JellyBus
- iD Cards by Loughborough University
- Design Dimensions by Arc Mist
- Evernote by Evernote Corp
- SwatchMatic by AppBaan
- Designmuseum Danmark by Designmuseum
- VideoShow by X-Video Studio