What are some of the best practices for teaching industrial design to students?
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Before starting any industrial design project or course, it is important to define the learning objectives and outcomes that you want your students to achieve. These should be clear, specific, and measurable, and aligned with the curriculum and the industry standards. Learning objectives can help you design the project brief, the assessment criteria, and the feedback methods, as well as guide your students' learning process and motivation.
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Design education should be a perfect mix of abstract and pragmatic experiences that lets students find their place in the design process
Industrial design is not a solo activity, but a collaborative and interdisciplinary one. Therefore, it is essential to encourage your students to work in teams, and to expose them to different perspectives and backgrounds. Collaboration can foster creativity, communication, and critical thinking, as well as help your students learn from each other and develop their professional skills. Diversity can also enrich the design process and the outcomes, as it can bring different insights, experiences, and values to the table.
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One of the most valuable skills you can learn (as any kind of designer) is how to hand-off your work to another discipline. Communicating clearly, fostering relationships, and building consensus is key to maintaining your design intent through final delivery of a project.
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Design education should introduce students to small communities of people with different abilities that challenge the normal solutions to complex problems.
Industrial design is a balance between theory and practice, between thinking and making. Therefore, it is important to integrate both aspects in your teaching, and to provide your students with opportunities to apply their knowledge and skills to real-world problems and contexts. Theory can help your students understand the principles, methods, and tools of industrial design, as well as the ethical, social, and environmental implications of their work. Practice can help your students develop their creativity, craft, and prototyping skills, as well as test and evaluate their ideas and solutions.
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I challenge the idea of “thinking” about design and ask students to design. Design is doing and thinking about 10,000 things simultaneously. It is impossible to separate doing snd thinking into two separate activities. Do we assume that Lebron James is separating thinking about playing basketball and playing basketball?
Industrial design is about designing for people, not for yourself. Therefore, it is important to promote user-centered design in your teaching, and to involve your students in researching, empathizing, and co-designing with the users and stakeholders of their projects. User-centered design can help your students identify the needs, preferences, and expectations of their target audience, as well as generate ideas and solutions that are relevant, useful, and desirable. User-centered design can also help your students validate their assumptions, get feedback, and iterate their designs.
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Every great designer I’ve ever asked the question, “who do you design for?” Has had a very specific person in mind when they designed an iconic object. Charles & Ray Eames designed their famous lounge chair for Billy Wilder. The fact that do many people love the chair may have something to do with the love they put into the design.
Industrial design is a reflective and iterative process, not a linear one. Therefore, it is important to foster reflection and critique in your teaching, and to provide your students with opportunities to review, analyze, and improve their work. Reflection can help your students learn from their successes and failures, and identify their strengths and weaknesses. Critique can help your students receive constructive feedback from you, their peers, and their users, and use it to refine their designs and enhance their quality.
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Alexander Kostellow, considered by many to be the originator of Industrial Design Education as we know designed a curriculum based on six abstract elements, line, plane, volume, color, texture, tone and along with Rowena Reed Kostellow and others developed Exercises that gave the students a way to critically analyze form both in 2D & 3D. This critical analytical ability was then exposed to pragmatic design problems with myriad critirea resulting in designs that met both standards of use snd beauty, summed up by Tucker Viemeister in the word, “beautility.”
Industrial design is a dynamic and evolving field, not a static one. Therefore, it is important to inspire curiosity and innovation in your teaching, and to expose your students to the latest trends, technologies, and practices in the field. Curiosity can help your students explore new possibilities, challenge assumptions, and ask questions. Innovation can help your students create original, novel, and impactful solutions that address the current and future needs and challenges of society.
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It's worth noticing the design language in use by the people you work with. Some would say 'product design', while others will say 'hardware design'. The meaning might be the same, but attention to variation should help collaborators in understanding and aligning expectations. Depending on the level of control each member of a team is comfortable with, the process can lead to a very detailed result or one with loose ends.
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