LEE- Endüstri Ürünleri Tasarımı Lisansüstü Programı - Doktora
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ÖgeTasarım alanının yerel bilgiyle ilişkisi: Karşıyaka köyü'ndeki iş birliğine dayalı dokuma uygulamasından öğrenmek(Lisansüstü Eğitim Enstitüsü, 2022-02-17)Bu tez, tasarımın yerel ile olan ilişkisini yerelden öğrenme şeklinde yeniden formüle ederek bunu Karşıyaka Köyü'ndeki dokuma uygulaması üzerinden anlamayı, belgelemeyi ve elde ettiği bilgiyi tasarım alanına aktarmanın olanaklarını araştırmayı amaçlamaktadır. Bunun için tezde üç ana parçadan oluşan bir yapı kurgulanmıştır. İlk bölümde tasarım disiplininin yerel bağlam ile ilişkisi meselesi tarihsel kökenleriyle literatürde ele alındığı şekliyle tartışılmıştır. İkinci bölümde tasarımda yerel bilgi konusu irdelenmiş ve tasarımda epistemolojik çeşitliliği sağlamanın yöntemleri aranmıştır. Son bölümde ise Karşıyaka Köyü'ndeki dokuma uygulamasının oluş, akış, işleyiş, aktarılış yolları ve biçimleri katılımcı gözlem yoluyla not edilmiştir. Dolayısıyla Karşıyaka dokuma uygulaması üzerinden yereldeki insanların nasıl bildiği ve ürettiği ve bu biçimlerin tasarım yapma ve bilme kanallarına nasıl dönüştürülebileceği konuları, bu tezin temel sorularını oluşturmaktadır.
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ÖgeDeveloping student performance in industrial design studios through self-regulated learning strategies(Graduate School, 2022-02)Perpetual changes in the world require individuals with deep knowledge and skills to navigate the economy and society, and as a result, the twenty-first century necessitates agency, awareness, and the ability of learners to deal with complex problems. Providing learners with these skills is important at all education levels. Industrial design (ID) studios in universities can facilitate these abilities as they provide students with essential skills and experiences to cope with complex real-world problems that are accepted as key characteristics of design practice. Along with the changing target competencies, self-regulated learning encompassing metacognitive, motivational, and behavioral strategies has attracted much attention in the last four decades due to its contribution to academic skills. These academic skills promote future competencies related to learning strategies. The value of self-regulated learning skills for academic achievement has been shown in different domains. However, the role they play in design studio education has been understudied. This thesis investigated the self-regulated learning strategies in the 3rd-year industrial design studio to improve the design learning process of the industrial design students in the studio regarding self-regulation. Underpinned by the social-cognitive view of self-regulated learning, this study used a two-phase mixed-method research design in which both quantitative and qualitative data collection and analysis methods were utilized. In each step of the research, several research questions were examined, which eventually influenced the overarching research question: How can an efficient design learning environment be designed in terms of SRL strategies to improve students' design performance? In the first research phase of this thesis, an exploratory research design was conducted to uncover the differences in the use of self-regulated learning strategies and motivational factors between high and low-achieving industrial design students in the 3rd-year industrial design studio course. We applied a convergent mixed methods design with Scale on Self-regulation in Learning (i.e., self-report questionnaire) and semi-structured interviews to gain a comprehensive understanding of students' strategy use. The integrated analysis of quantitative data from 47 industrial design students and qualitative data from 16 industrial design students demonstrated differences between high and low achieving design students' self-regulated learning skills in relation to the use of metacognitive, motivational, and behavioral strategies. Building on the first phase, in the second research phase of this thesis, an experimental research study was conducted. An intervention study that was developed based on the findings of the first phase was conducted to promote self-regulated learning strategies in an industrial design studio. Similar to the first phase, a convergent mixed-method research design was applied while collecting data from the intervention study through both quantitative (i.e., pre and post-test self-report questionaries, grades of the students, and feedback questionary) and qualitative methods (i.e., semi-structured interviews). The analysis of this phase aimed to explore the impact of the intervention study on students' design learning process in a design studio, particularly on gaining self-regulated learning skills and design performances of the students. The integrated analysis of the quantitative and qualitative data on self-regulated strategy changes revealed that design students who engaged with an intervention that is aimed at supporting self-regulated learning strategies demonstrate increases in metacognitive strategies (i.e., goal planning, self-monitoring, and self-evaluation); motivational strategies (i.e., self-efficacy, goal orientation, and task value), and behavioral strategies (i.e., seeking information and seeking help). Besides, the quantitative analysis (i.e., grade comparisons) demonstrated that design students who engaged with an intervention that is aimed at supporting self-regulated learning strategies demonstrate increased grades compared to the students who did not engage with the intervention in the same studio class. In brief, the intervention study supporting self-regulated learning strategies in industrial design studios had a developmental effect on students' engagements with some of the self-regulated learning strategies and on their design performances. Questioning the claims of the learner-centered and constructivist approach to studio education, this study has moved the focus to learner autonomy using a self-regulation approach. The findings helped to understand the variability of students' learning styles and delineate areas of self-regulated learning strategies that should be strengthened to support students – especially underachievers. The explanatory and experimental studies that were conducted in this dissertation aimed to provide design educators, students, and researchers with a foundation to understand the self-regulated learning strategies in the industrial design studio. Instead of providing instructions with generalizable conclusions, the findings of this dissertation should be read in the light of the research context. The implications are shared to assist with design educators and learners with regards to several facets of teaching, learning, and searching in industrial design education. Besides, with the guidance of the findings, and based on the self-regulated learning theory, a model for the self-regulated learning process regarding the relationship between and within the three design studio actors (i.e., design learner, design project, and design studio) could be proposed. This model suggests that the communication between the actors of the design studio can be regulated through self-regulated learning strategies. In this sense, experience sharing as a motivational activity to develop social self-efficacy, watching self-recordings as a metacognitive strategy for self-realization of deficiencies, and meta-studio activities as a behavioral strategy to strengthen the accessibility of the studio environment were proposed as self-regulated learning activities which can be engaged in the studio process. To the best of our knowledge, this study is known to be the first to examine SRL strategies quantitatively and qualitatively through SRL intervention in an industrial design studio. Hence, through this study, we anticipate our contribution in two levels. First, by providing insights from design studio education, which is a creativity-focused learning environment with natural learning conditions and simulation of real-life, this study contributes to the education literature. Second, regarding the ongoing deep changes in both educational, theoretical, and practical aspects of design -which is signifying a new order of design and a new generation of designers who tend to become decision-makers- this study fills a gap within the existing body of design pedagogy and instruction in industrial design relative to self-regulated learning. It highlights the importance of students' self-awareness, learning strategy preferences, and motivational aspects in the studio education process. Design studios will not fulfill their potential to foster SRL skills through the signature pedagogy unless individual student differences are paid attention to. Studio education needs improvement to encourage students to develop their learning skills. The implementation of SRL strategies based on individual differences in design learning environments can help to improve the design performance, especially, of less accomplished students.
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ÖgeTasarım sürecinde yaratıcılığı geliştiren bir yaklaşım olarak -mış gibi yapma(Lisansüstü Eğitim Enstitüsü, 2021-11-26)Bilişsel psikoloji literatürüne göre, tasarlama süreci yaygın olarak yaratıcı problem çözme süreci olarak tanımlanmaktadır. Bu süreç, yaratıcı dönüştürme süreci olarak, problemleri, çözüm olasılıklarıyla yeniden hayal etmeyi, böylece problem alanına yenilikçi bakış açısı getirmeyi ifade eder. Kavramsal tasarım sürecinde belirsizliklerle uğraşırken, tasarımcıların var olan tutum ve alışkanlıkların ötesinde düşünebilmesi, yeni fikirler üretmesi ve alternatifleri değerlendirerek problemlere en uygun çözümleri oluşturması beklenmektedir. Bu çalışmada, tasarımcıların kavramsal tasarım sürecinde yeni olası fikirler ile "-mış gibi" görebilme ve davranabilme süreçleri bilişsel psikoloji araştırmalarında yetişkinlik döneminde yaratıcılığın kaynağı olarak görülen çocukların -mış gibi oyunları ile ilişkilendirilmektedir. -Mış gibi yapma/oyunlar, nesne yada durum aslında öyle değilken öyleymiş gibi olma halini ifade eder. Çocukların –mış gibi yapma süreci eylem olasılıklarını ifade eden "karşılama kavramı" ile açıklanmaktadır (Rucińska, 2014, 2015). Bu ilişkiye göre, çocuklar oyun sırasında nesnelerdeki eylem olasılıklarını –mış gibi görebilmektedir. –mış gibi oyunlar, gelişim teorilerine göre, erken çocukluk dönemi ile sınırlıdır. Bu çalışma, "-mış gibi" yapma/ görme sürecinin yetişkinlik döneminde kavramsal tasarım sürecinde nasıl devam ettiğini açıklamayı hedeflemektedir. Bu kapsamda çalışma, çocukların –mış gibi yapma süreçleri ile tasarımcıların kavramsal tasarım evresinde form oluşturma süreçleri arasındaki benzerlikleri, yaratıcı bilişsel süreçler ve "karşılama" kavramı çerçevesinde inceleyerek bilişsel tasarım çalışmalarına katkı sağlamayı hedefleyen teorik ve deneysel nitelikte bir temel araştırma örneğidir. Çalışma, teorik çerçevenin oluşturulduğu literatür taraması ve teorik şemanın deneysel olarak test edildiği ön-deneysel ve deneysel çalışmaları içeren bölümlerden oluşmaktadır. Araştırmanın teorik kısmında öncelikle, çocukların –mış gibi yapma süreçleri ile kavramsal tasarım evresinde form oluşturma süreci arasındaki benzerlikleri tanımlamak için derinlemesine bir literatür taraması ile karşılaştırmalı bir kavramsal şema oluşturulmuş ve sunulmuştur. Daha sonra bu ilişkiyi deneysel ortamda test etmek için çocukların –mış gibi yapma süreci, "zihinsel sentez görevi" ile simüle edilmiştir. Örneklem olarak tasarım alanından ve tasarım alanı dışından öğrencilerle iki aşamalı yaratıcılık ölçeği olarak alternatif kullanım testi ve yaratıcı zihinsel sentez testi ardışık olarak uygulanarak, nicel araştırma yöntemiyle istatistiksel verilere dönüştürülmüştür. Devamında elde edilen sonuçlar, karşılama-temelli –mış gibi yapma süreci ve yaratıcılık bağlamında karşılaştırılarak yorumlanmıştır. Öncelikle, tasarım alanından ve tasarım alanı dışından sınırlı sayıda öğrenci ile kontrol ve deney gruplarından oluşan bir ön-deneysel çalışma yapılmıştır. Tasarım alanından ve tasarım alanı dışından öğrenciler, alternatif kullanım testi ile eşit olarak kontrol ve deney gruplarına ayrıldıktan sonra, "oturma birimi" kategorisinin verildiği bir seri geometrik cisimin kombinasyonuna dayalı zihinsel sentez görevini tamamlamışlardır. Tasarım alanından ve tasarım alanı dışından öğrencilerin çizdikleri formlarda "oturma" karşılamasını arama ve -mış gibi yapma süreçleri yaratıcılık bağlamında karşılaştırılmıştır. Ön çalışmanın sonucunda, tasarım deney grubu öğrencilerinin diğer gruplara göre, zihinsel sentez görevinde–mış gibi yapma yetenekleri ile en yaratıcı performansı gösterdikleri görülmüştür. Ön-deneysel çalışmanın bulguları ana deneysel çalışmanın tasarlanmasına katkıda bulunmuştur. Ana deneysel çalışmaya katılan toplamda 264 öğrenci, alternatif kullanım testi ve yaratıcı zihinsel sentez görevini içeren deneysel görevleri tamamlamıştır. Ön-deneysel çalışmanın revize edilmesiyle geliştirilen ana deney süreci iki bölümden oluşmaktadır. Deneyin ilk bölümünde hem tasarım alanından hem de tasarım alanı dışından öğrenciler, alternatif kullanım testi ile yaratıcılık puanlarına göre eşit olarak kontrol ve deney gruplarına ayrılmıştır ve gruplar zihinsel sentez görevinde farklı zihinsel süreçlerden geçerek verilen geometrik cisimlerle "sandalye" formu oluşturmuşlardır. Sonuçta katılımcılar tarafından oluşturulan formlar birbirinden bağımsız üç jüri tarafından "kullanışlılık" ve "orijinallik" kriterlerinde yaratıcılıklarına göre puanlanmış ve gruplar birbiriyle –mış gibi yapma yeteneği bağlamında karşılaştırılmıştır. Deneyin ikinci bölümünde ise, bütün katılımcılar sandalye formlarını farklı işlevde nesneler olarak yorumlamıştır ve farklı eylem olasılıklarını -mış gibi görmeye çalışmışlardır, sonra "en yaratıcı olduğunu düşündükleri bir tanesini seçmişlerdir. Katılımcıların sandalyeden farklı işlevde yorumladıkları nesne, yedi ayrı kriterde birbirinden bağımsız üç jüri üyesi tarafından değerlendirilmiştir ve "karşılama-görme esneklik puanı" elde edilmiştir. İstatistiksel analizler sonucunda gruplar karşılaştırıldığında, tasarım deney grubunun, deneyin ilk bölümünde en yüksek yaratıcılık puanlarını, ikinci bölümünde de en yüksek karşılama-görme esneklik puanlarını aldığı tespit edilmiştir. Ayrıca, tasarım dışı deney grubu tasarım dışı kontrol grubundan her iki bölümde de daha yüksek puanlar almıştır. İstatistiksel sonuçlar, öğrencilerin yaratıcı zihinsel sentez görevinde aldıkları yaratıcılık puanları ve karşılamaları/eylem olasılıklarını –mış gibi görme yetenekleri arasında anlamlı ilişki olduğunu göstermiştir. Bulgular değerlendirildiğinde, tasarım deney grubunun diğer gruplardan daha yüksek puanlar alarak karşılama-temelli –mış gibi yapma sürecinde en başarılı grup olduğu görülmüştür. Literatür ışığında yorumlanan sonuçlar, -mış gibi yapma sürecinin, ilk akla gelen bilindik cevaplar yerine, alışılmadık, orijinal fikirleri seçmek gibi yaratıcılıkla ilgili önemli pek çok bilişsel kapasiteyi destekleyerek yeni fikirlerin oluşmasını desteklediğini göstermektedir. Bu çalışma, çocukların –mış gibi yapma süreçleri ile tasarımcıların erken tasarım sürecindeki form oluşturma yaklaşımları arasındaki benzerlikleri yaratıcılıkla ilişkili olarak kavramsal çerçevede inceleyen ilk araştırma olarak diğer bilişsel tasarım araştırmaları için yeni bir perspektif açmaktadır. Çalışma ayrıca, kavramsal tasarım evresinde tasarımcıların form oluştururken yeni yapıları keşfetmesini karşılama temelli-mış gibi yapma süreci olarak örneklemektedir. Tasarımcılar da çocukların –mış gibi oyunlarındaki esnek düşünme biçimlerine benzer şekilde nesnelerin bilindik kullanımlarının ötesini görmeye çalışırlar. Çocuklar için doğal olarak oyunlarla gelişen bu süreç, tasarımcılar için tasarlarken öğrenilen tasarım sürecinin bir parçasıdır. Bu nedenle, yaratıcı düşünmeyi desteklemek ve tasarım sürecinde yeni yaklaşımlar geliştirebilmek için tasarım düşüncesini ve tasarımcıların zihinsel süreçlerini anlamak önemlidir. Günümüzde, yaratıcılığı geliştiren süreçleri anlamaya yönelik yeni yaklaşımlar tek bir disipline bağlı kalmaktan ziyade interdisipliner anlayışla ilerlemeyi gerektirmektedir. Bu çalışma, yaratıcılıkla ilgili alanların ve eğitim alanlarının faydalanabileceği disiplinlerarası araştırma olarak önem kazanmaktadır. Bilişsel alanda yaratıcı süreçler hala güncelliğini koruyarak farklı perspektiflerden araştırılmaktadır. Gelecekteki çalışmalarda -mış gibi yapma süreci, insan zihninin diğer yaratıcı süreçleri ile ilişkili olarak tasarım sürecinin diğer evrelerinde zihin-beden ve çevre sistemi bütününde ele alınmalıdır. Aynı zamanda, tasarım sürecindeki etkilerini daha kapsamlı olarak değerlendirebilmek için karşılama-temelli -mış gibi yapma süreci ve tasarım yaratıcılığı ilişkisi profesyonel tasarımcılarla da incelenmelidir. Bu çalışma, bir temel araştırma örneği olarak gelecekte ilgili araştırmalara, pratik uygulamalara ve tasarım eğitimine, elde edilen bulgularla zemin hazırlayacaktır.
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ÖgeAssessment of using kansei engineering results on the product design processes of novice designers(Graduate School, 2021-11-15)The thesis was completed in two parts. In the first part, a Kansei Engineering study was carried out using the Turkish traditional tulip-shaped tea glass which was chosen as a widely used and culturally valued product for Turkish people. In the second part, the results of the Kansei Engineering study were presented to one of the two groups of novice designers in an experimental setup to investigate the following two research questions: "What is the role of using the results of Kansei Engineering methodology on the products of novice designers regarding the perceived quality in terms of user preferences?" and "How do the design processes of novice designers differ when they are exposed to the results of the Kansei Engineering methodology?".
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ÖgeAn action research on the integration of virtual reality into industrial design education(Graduate School, 2021-10-13)Industrial designers have always tended to use computers and computer-based technologies that they believe will help them do their works better and easier, and thereby, they quickly adopted them. Also, these technologies adopted by professionals have usually been used by industrial design students and/or educators and they were integrated into industrial design education shortly after their adoptions because it is conducted as a simulation of professional life. However, although Virtual Reality (VR) technology that is one of the computer-based technologies has become economically available for designers with the release of VR headsets such as HTC Vive and Oculus Rift in 2016, and has already been adopted by professionals, how it can be integrated into industrial design education is still unclear. Moving from this point of view, this thesis explores how VR technology can be integrated into industrial design education. For this purpose, an action research was conducted by trying to use it under the real conditions of an industrial design studio course. In the first step of the research, a systematic literature review on related works in addition to the general literature review and a preliminary study with prospective users (industrial design students and instructors) were carried out to reveal (i) what the former studies regarding the use of VR technology in industrial design education are; (ii) what these studies say about this issue; and (iii) what the opinions of potential users, who are industrial design students and instructors, about the use of VR technology in industrial design education are. The systematic literature review showed that VR technology was tried to be used before in the professional practices of industrial design as: a usability evaluation tool; an ergonomic evaluation tool; a visualization tool; a product demonstration tool; a presentation tool; an interactive prototyping tool; an immersive mood board; a sketching tool; and a collaboration tool. However, none of these types of use was tried to be employed before under the real conditions of the educational setting of an industrial design studio course. The preliminary study was conducted with industrial design students and instructors who came from 10 universities in Turkey. In this preliminary study, first, VR technology was introduced to the participants. Then, it was experienced by the participants. And then, both quantitative and qualitative data based on their opinions were collected and analyzed. The results of the preliminary study revealed that: (i) potential users are eager to use VR technology; (ii) however, they have reservations as well as their positive opinions about using it in industrial design studio courses; and (iii) almost all these reservations are related to its usability. In the second step, an in-studio study was planned based on the findings of these studies, and with a focus on getting started by eliminating or by minimizing these reservations as much as possible. In the third step, in line with this planning, VR technology was tried to be used in the studio-based practices of an industrial design studio course. This in-studio study was carried out in the course "EUT 320E Industrial Product Design III" with the project issue "Smart Electric Minibus Design for Anadolu Isuzu". This course was the 3rd year industrial design studio course of Istanbul Technical University (ITU) Department of Industrial Design, which was conducted in the 2017-2018 spring semester. In this process where the course process and the research process merged, the researcher worked: as one of the instructors of the course; as an operator who is responsible for installing and running the VR system properly, and responsible for its being used easily and hygienically; as an educator who will meet the learning need for VR. In the in-studio study, (i) how VR technology can be integrated into the jury practices of industrial design education was questioned by making the use of it mandatory by students for design representation and presentation purposes, and then, by trying to use it in the jury sessions; and (ii) how it can be integrated into other studio-based practices of industrial design education was questioned by making it available for use during the studio hours of the course, and then, by observing whether it will be used for/in other studio-based practices. Throughout the project process of the course, it was attempted three times to integrate VR technology into the jury practices of the course. In the last attempt, this was achieved. Each attempt was scrutinized with the observations recorded during the jury sessions and the interviews with the user groups after the jury sessions. The interviews with the students were held as group interviews, whereas the interviews with the instructor-jurors were held one-to-one. Since it was not possible to hold face-to-face interviews with the invited jury members, their opinions were tried to be gotten via e-mail. These attempts and examinations show step-by-step how VR technology can be integrated into the jury practice of industrial design education by developing solutions in line with the needs and demands of students and instructors. On the other hand, it was observed that (i) making VR available for use during the studio hours and giving a short training on how to use its hardware and software opened the way of using it as a design evaluation tool by students; and (ii) neither students nor instructors demanded or attempted to use VR in other practices and activities where students and instructors got involved together. In the last step, considering the results of the in-studio study, (i) the usability level of the proposed way for using VR technology in the final jury session was measured with the help of the System Usability Scale (SUS); (ii) the final assessments of students and instructors on the VR technology they used during the project process and its use in the educational practice of industrial design were revealed with the help of the interviews with students and instructors and the questionnaire items adapted from the scale items of the Extended Unified Theory of Acceptance and Use of Technology (UTAUT2) and the Net Promoter Score (NPS); and (iii) the reasons why VR technology was not used in other practices and activities where students and instructors got involved together were questioned with the help of interviews with students and instructors. The SUS score was calculated as 71.3. This score indicates that the usability of the last proposal for using VR technology in the jury practices of industrial design education is OK but can be improved. Besides, the final assessments of students and instructors on the VR technology they used during the project process and its use in the educational practice of industrial design revealed that although they found VR technology useful in various aspects and easy to use at various degrees, they still had some reservations in their minds. However, this time, these reservations were based upon (i) whether the facilitating conditions about the frequent or the continuous use of VR technology were sufficiently present; and (ii) the thought that using it for evaluating designs of small products will not be so useful. On the other hand, it was seen that the reasons why VR technology was not used in other practices and activities where students and instructors got involved together were related to (i) not having yet sufficient familiarity and mastery of its use in such activities and practices; (ii) perceiving VR as a technology that would only enable to evaluate and/or present the whole – not the parts – of a design over a finished model; and (iii) not being its set-up ready for use when needed. In addition to all these, participants stated that for the use of VR technology in industrial design education to be sustainable, (i) it should be easily accessible and usable for both students and instructors with a permanent installation in the studio environment; (ii) it should be led/managed by at least one instructor/executive; and (iii) the requirements of the technology such as installation/setup, learning, operating, and maintenance requirements should be met by at least one technical person/expert/operator. As a result, this thesis study contributes to the relevant literature (i) by showing, step-by-step, one of the ways of integrating VR technology into the jury practice of industrial design education; (ii) by revealing the clues of how it can be integrated into other studio-based practices of industrial design education; and (iii) by outlining what might be the possible attitudes of industrial design students and instructors towards the use of VR technology in industrial design studio courses before and after the actual use of it in those courses. This thesis study is one of the first attempts in the literature to integrate VR technology into industrial design education by trying to use it under the real conditions of an industrial design studio course. Hence, its outcomes need to be verified and/or improved with similar studies. Besides, how it can be integrated into other studio-based practices of industrial design education is still not clear enough because the relevant part of the study has been conducted with an unstructured intervention. Therefore, it should be noted that there is also need for further studies to be carried out with structured interventions on this issue.