融入设计思维的STEAM教育:模式构建与案例分析

设计思维是当代学生应具备的适应社会发展需要的一种思维能力。如何培养学生的设计思维以及提升学生的设计能力,成为我国当前需要重点关注的重要教育问题。作为一种新的教育理念,STEAM教育在培养学生创新思维能力方面具有重要作用。首先,阐述了设计思维与STEAM教育的内涵,分析了设计思维对STEAM教育的指导作用;其次,在STEAM教育理念的基础上融入设计思维,构建符合创新教育要求的STEAM教学模式,融入设计思维的STEAM教学模式包含学习环境、课程目标、课程活动和课程评价;最后,依据该模式开发并实施了课程案例,分析了融入设计思维的STEAM课程对小学生知识学习与能力培养方面的作用。     

设计教育与计算机辅助设计教育应注重创意思维的培养

随着社会的进步，科技飞速的发展，计算机辅助设计在艺术设计中广泛普及，设计文化已经成为一个国家和民族兴盛发达的标志。如何在设计教育与计算机辅助设计教育中加强以培养创意思维为中心的素质教育，是我们教育工作者面临的一项重要任务。本文从教学实践出发，强调设计的灵魂是创意，设计教育是培养综合素质的教育，计算机是辅助设计表达思想理念和表现手法最好的工具。     

论艺术设计教育中创造性思维的培养

创造性思维是艺术设计中处于核心地位的思维能力,它以发散性思维为主要特征,讲究科学理性和艺术感性的融合,并强调灵感和直觉的运用。在艺术设计教育中培养学生的创造性思维能力,要让学生突破思维定势,学会发散思维;了解创造性思维的过程,学会捕捉灵感,形成创意;要改进评价机制,营造富有竞争力的艺术设计教学氛围来激励和启发学生的创造能力。     

谈化学教学中问题的设计与创造性思维能力的培养

素质教育呼唤培养有创造力的学生，培养创造性思维的主阵地在课堂,合理有效的课堂教学问题设计对学生的创造性思维能力培养至关重要。     

建筑设计基础教育中创造性思维培养方式研究

文章综合当前建筑学专业启蒙教育阶段的特点,阐述建筑学基础教学的几个基本原则,强调了对于专业基础教育,培养学生的空间创造性思维能力的重要性。同时针对现今教育中存在的问题,提出改革的新思路和新方法。     

论室内设计教学中的创造思维

室内设计教学是创造性的艺术活动。在室内设计教学中需要解决的主要问题是如何培养学生的创造性思维以及如何培养学生具备科学分析的头脑和善于提出问题、创造性解决问题的能力     

在“概念书籍设计”教学中培养学生的创造性思维

基于＂概念书籍设计＂的概念,阐述在教学中通过加强发散性思维的训练、激发学生动手设计的灵感等途径来培养学生的创造性思维。同时,引导学生了解传统书、现代书以及未来概念书的设计之美,从而达到培养学生审美意识的目的。     

创造性思维与美术设计教学

在美术设计教学中,启发学生的创造性思维尤为重要,传统的封闭式的教学模式应尽快改变,教师应注重设计型人才的培养,使创造性思维在实践中得到应用和升华。     

在生物教学中培养学生的创造性思维能力

21世纪需要创造性的人才,创造性的人才要具备创造性思维,创造性思维要用创造性教育来培养。创造性思维的培养是当前我国教育的一个重点,亦是难点,本文阐述了实施创造教育的意义,就如何在生物教学中培养学生的创造性思维能力,提出了一些可行的途径。     

从心理学层面看艺术设计教育中创新能力的培养

文章从心理学的角度就如何在艺术设计教育中培养学生创新能力展开论述。通过对艺术设计学科属性的探讨得出艺术设计活动过程中创造性思维的特点。并通过分析非随意创造性思维活动的加工方式和心理操作模型提出在艺术设计教育中应该注意艺术和文化对设计创新思维的促进作用,并同时指出培养理性思维的重要性。     

指向创造性思维:PISA 2021的启示与借鉴

创造性思维是人类发展所需的必要能力,可以帮助人们适应不断变化的世界和应对充满挑战的未来。经济合作与发展组织确定在PISA 2021中增加对创造性思维能力的评估,其发布的《PISA 2021创造性思维评估框架草案(第三版)》明确阐述了创造性思维的内涵、表现形式和促成因素,以系统的通用框架、科学简易的"三维度四领域"能力模型向公众提供了一个操作性强的评估系统。通过此次评估,各参与国家和地区可获得学生创造性思维能力的可比数据,为未来教育政策的制定和教育实践的改进提供支持。基于PISA的经验,为了更好地评估和培养学生的创造性思维,我国可借鉴创造性思维能力模型,细化学科核心素养的考查;构建创造性课堂,加强学校创新氛围的建设;在课堂教学中以真实情境和实际问题为载体,培育和评价学生的创造性思维。     

历史教学中创新思维创新能力的培养

创新思维和创新能力的培养离不开对历史基础知识的学习,培养创新思维和创新能力的方法和途径:坚持实事求是的科学思维方法,实施教学民主,营造和谐宽松的氛围,培养学生的发散性思维,鼓励学生大胆质疑。     

Supporting Creative Responses in Design Education – The Development and Application of the Graphic Design Composition Method

Inspiration is the primary element of good design. Designers, however, also risk not being able to find inspiration. Novice designers commonly find themselves to be depressed during the conceptual design phase when they fail to find inspiration and the information to be creative. Accordingly, under the graphic design parameter, we have developed the ‘Analytic Composition Method (ACM)’ to guide novice designers in gradually breaking through their usual modes of thinking to construct their own methods of composition. This method provides a variety of creative modes for the design field. Three stages are presented in this study. A design method is first constructed based on the results of a pretest and the existing composition methods of graphical design. We then apply the design method to three iterations of graphic design instruction. Lastly, we conduct an expert interview to evaluate the usefulness of this method. The following are the results obtained. 1. Most of the participants tested sought inspiration visually; they usually began their design process from image data and do not use the data beyond imagery. 2. The results of teaching activities show that using this method as a tool for graphic design enables various sources of inspiration to generate different modes of thinking and creative expression. 3. Our method could potentially be used for basic composition training and project design execution. However, the application of this method may vary with different design objectives.     

发散与延伸——广告专业教学中创意思维训练的两个维度

发散与延伸是广告创意思维训练中的两个重要维度。发散性思维可通过一个物品多种用途、一个形象多种变化、一个概念多种联想、结合案例进行发散等教学手段加以训练。延伸性思维可通过模仿与延伸、推论与延伸、提炼与延伸等教学手段加以训练。并通过添加辅助条件来提高广告创意思维的速度和精度,此外,还需要注重思维训练的系统化与科学化。     

Becoming a Design Thinker: Assessing the Learning Process of Students in a Secondary Level Design Thinking Course

Design thinking is a collaborative problem solving and human‐centric approach that fosters innovation by elevating participants’ creative thinking abilities. Design thinking techniques and practices have been implemented into different curricula in secondary and post‐secondary education to address the need for new skills to be learned for the twenty‐first century. However, little work has been conducted to clarify how to evaluate the students’ design thinking skills gained in these courses. This study reports on a successful evaluation of an interaction design thinking curriculum in secondary level education. Several types of data sources, including participant observation, open‐ended questions and document analysis were employed to gather extensive data on students’ skills gained during the course. The results of the study inform design thinking researchers about how to evaluate design thinking skills of students in a secondary level design thinking course.     

基于STEAM的创客教育活动设计与应用研究——以江阴市要塞中学基于STEAM的创客教育活动为例

本文基于江阴市要塞中学课题研究成果,对STEAM教育和创客教育的内涵进行解读,结合STEAM教育特点阐述了创客教育的理念和教学模式,着重分析了创客教育活动的设计与应用,希望对STEAM教育和创客教育的开展有积极的借鉴意义。     

大学日语教育中创造性思维理论应用与实践

文章围绕创造性思维的定义、特点、意义、制约创造性思维的诸多因素、如何在大学日语教育中培养学生的创造性思维能力为中心、结合创造性思维理论在大学日语教育实践中应用与实践的个案分析、探讨创造性思维的培养方法及其评价体系。     

浅谈学生创造性思维的形成及灵感获取能力的培养——以工业设计为例

以案例的方式,从对自然的认知层面、对自然的再创造层面两方面,对设计教育中如何培养学生进行创造性思维、获得设计灵感的方法进行分析与探讨。     

大学英语听说课程中的创新思维培养

大学英语听说教学不仅要培养学生的英语听说能力,更要注重培养学生的创新思维能力。根据大学英语听说课程的特点,从学习环境的创设、教学目标的设置、教学内容的选取、教学活动的设计和教学效果的评价5个方面,探讨将创新思维能力培养融入大学英语听说课程,实现学生创新思维能力的提高。     

Gaining ‘Raw Insider Knowledge’: The Benefits and Challenges of International Study Tours for Creative Industries Students

International short‐term study tours are a fast‐growing format for outbound education and provide exciting experiential learning opportunities for students in the creative industries disciplines. This success has encouraged researchers to seek a comprehensive view of the various concrete experiences that contribute to student learning during study tours. To that end, this article presents evidence from a qualitative online post‐tour questionnaire administered with students studying various art and design disciplines who participated in short‐term international study tours at a large Australian university in 2015. Using Kolb's Experiential Learning Theory as a framework, data collected explored student perceptions of which concrete experiences on a study tour are most impactful and which may actually hinder learning. Findings revealed: experiencing key industry venues are the most significant aspects of a study tour, rather than networking or personal growth; poor itinerary planning and travel issues are the least liked aspects of a tour, yet are often the most easily addressed with better tour management and planning; and students were positively impacted by unexpected gains in knowledge about their creative industries discipline. This study, therefore, provides unique insights into which concrete experiences may be most impactful as part of the experiential learning cycle within an international study tour for creative industries students.