a conference called, “Education from Being: The Sense of Ethics in the Construction of a Fair and Inclusive Society. Having been established as a Center, working with professors and students began to take on a special relevance. For this reason, the Center’s founding principles include three lines of action: The Educational line, the Research line, and the Social Projection line.
In the educational line, the main purpose is to provide support to professors and students so that the teaching and learning experience is significant and transcendent in terms of being, knowledge and know-how. From this educational perspective, the Center for Integrity linked up with the Project 2 course at the beginning of the second semester of 2017. This was done with the aim of accompanying the luminaire design exercise during seven academic weeks, through a reflection on ethics based on The Little Prince, by Antoine de Saint-Exupéry.
Department of Artistic Development
The Department of Artistic Development, an area assigned to the Department of Human Development and University Wellbeing, is a place to discover oneself, to express cultural and artistic skills in a fun way, and to participate in an introspection oriented to personal knowledge. The Department provides a place where it is possible to involve oneself in the creation and appreciation of art. (Universidad EAFIT, N.d).
Within a framework of informal education, the department has facilitators and quality programs, coordinates activities directed to society, and offers training designed to complement the human being’s integral development.
In addition, having taken into consideration that skills can be developed, the Department promotes the stimulation of manual and physical aptitudes, training in different plastic art techniques, and the promotion of artistic appreciation.
This work is achieved thanks to the places adapted especially for the different expressions of culture and the arts. These hands-on experiences are carried out close enough for the participants to be actively involved – as artists or spectators. In this way, they can be trained as an audience that exercises critical thinking, has a high expectation of the future, and respects itsef and all artistic expression.
Thus, the Department of Artistic Development, directed by Elsa Vásquez, was invited to participate in the project of luminaries based on The Little Prince with origami and jewelry workshops. The goal was to enrich the language of the luminaries with paper folding and metal sheeting techniques and, in turn, for students to develop artistic skills and materialize them in their projects.
What follows is an explanation of what the exercise entailed from the pedagogical point of view and a discussion about the methodology.
The day to day tasks faced by students in universities are: to discover the passion necessary to design, to understand and develop the engineer’s and designer’s own skills, to go inside and understand the meaning of the profession.
Teaching Design: A Challenge in This Era
The disciplines of design and engineering have never been so necessary as they are in today’s world. Design, innovation and design thinking are the main themes of the best design schools in the world. These schools have risen in crescendo the last fifty years in universities of long standing tradition. They include these topics in their students’ education with the objective of giving them the ability to develop the products or services that current and future companies demand. Likewise, there is a need for professors at these universities to help students find their creative strengths (Robinson and Aronica, 2009) when studying design careers. It is the educator’s job to cultivate and potentiate these strengths.
Challenges such as: launching innovative products into the market, cleaning up the environment or preventing pollution from happening, recycling, desalinating water, supplying new transport, housing, food or communication needs with alternative systems, as well as innovating in existing products to improve them; are not easy to solve. However, it seems that the discipline of the design engineer is increasingly attractive and the supply and demand of young people who want to be more creative, innovative and smart in this career or similar ones, is growing around the world.
However, not everyone who chooses this challenging profession is passionate about what they do, nor are they in their element, precisely because they do not find their “element” as Ken Robinson (2009) says. Those who insist on this career, need a stimulus, a trigger that awakens them, so they realize that designing is a demanding and exacting task. It requires extreme altruism, because true design takes others and their needs into account. This is how students can measure their passion for product design engineering. They need a reality check; they need to put their feet on the ground and understand what it means to be a design engineer and develop that awareness.
The day to day tasks faced by students in universities are: to discover the passion necessary to design, to understand and develop the engineer’s and designer’s own skills, to go inside and understand the meaning of the profession. The way to ease this situation is not found in an instruction manual. The newcomers must be accompanied as they find their way, and it cannot be assumed that the professors are enthusiastic about helping them. It is a challenge for both professors and students. When he did not understand a topic in his undergraduate calculus course, the son of Juan Diego Ramos, the great professor and founder of PDE in EAFIT said, “Dad, I don’t have a problem with calculus, calculus is cool; what really is terrible is when a bad professor interferes between calculus and me.” This is where professors must leave their comfort zone and understand that they must take a step forward and propose strategies to teach design, so that students are motivated to learn from something more than the rules and the methods of design when creating a new product. Teaching design is not only transmitting methodologies and steps. We must also discover what moves professors to educate in design. Why do they do it? What does it mean? They need an inspiring starting point for themselves and for their students. The bait needs to be put out for the mouse, but ordinary cheese will not suffice. The most refined and most exquisite cheese must be found: a cheese worthy of a Ratatouille.
In design and engineering products should be created in light of an inner reflection, their raison d’etre, the reason they are truly necessary for human beings. Therefore, a proposal for design exercise should balance aspects such as level of complexity, motivation, capacity to carry it out, integration of disciplines and self-reflection when designing. In this way, professors in this area face the biggest design problem of all: creating strategies for students to learn to design by giving the best of themselves or at least facing their weaknesses and improving each time they try. Adequate reading, the precise tool, and the correct intervention allow the students to transform themselves in the midst of what they do and think. In this vein, as José Antonio Marina says, we are helping to define the human species. How is this accomplished? How can students connect with a design problem and ask themselves questions about the meaning of their profession and their life? How can they become critical, self-critical, reflective, and make their learning imbued with meaning?
