unit title product ideation and insight unit code fpdg5007...

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UNIT TITLE Product Ideation and Insight Unit Code FPDG5007 Location Farnham Level 5 Duration (number of weeks) 24 Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version 14th March 2016 CONTENT The purpose of this unit is to enable students to activate their creativity and stimulate a fluent output of ideas and insights. This is undertaken in an abstract context to encourage a freer and more speculative approach. The unit recognises that to make a deep impact on an audience, design project work often builds layers of depth and narrative extending well beyond the immediately visual. Project concepts may shift and evolve, but remain the reference point for all thinking and progress to ensure critical awareness of project shape and direction. The unit supports the generation of ideas without the pressure of having to realise them, but with the expectation their potential for realisation is duly evaluated. It introduces students to methods for a productive, self-sufficient and relaxed attitude towards idea generation, and an awareness of the necessity to reject many ideas before escalating the development of a selected few. Indicative content includes:

• idea generation methods and techniques • adhocism and improvisation • narrative constructions • observation and insight • speculative research • random acts • methods of recording and evaluation • library research services • School of Crafts and Design Research Centres • creative presentations and communication

AIMS The aims of this unit are: A1 to stimulate fertile and effective creative speculation.

A2 to promote evaluation of the creative potential of ideas and insights.

A3 to introduce uncertainty and risk taking within creative practice.

LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 research creative ideas generation methods, technique and precedent.

LO2 generate creative insights and ideas from a variety of given and self-initiated starting points.

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LO3 evaluate creative ideas and insights and their potential for extended design project enquiry.

LO4 present and communicate an abstract journey of ideas and insight generation to an interdisciplinary audience.

INDICATIVE TEACHING & LEARNING METHODS No. of hours of scheduled activity1 120 No. of hours of independent activity 180 No. of hours of placement activity 0 This will comprise:

• Creative workshop sessions and collaborations. • Multidisciplinary working. • Inductions/workshops. • Seminars/lectures. • Research/Study visits. • Presentation and critique

ASSESSMENT REQUIREMENTS Table A1- Assessment Components

Assessment Component

List all separate components

Weighting (%)

Typical Indicative

Assessment tasks

Where the component

comprises more than one

assessment task

Assessment Type For each component

double click in the box to see options. The options equate to the assessment types in table A2

Word Count Approx word count where applicable

Portfolio 100 Presentation Body of Work

Portfolio

n/a

Table A2 – KIS Categories for Assessment

Assessment Type % of assessment Category

Written exam Written

Set exercise (under exam conditions but not testing practical skills)

Written

Written assignment, including essay Coursework

Report Coursework

Dissertation Coursework

11 This data is required for KIS. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor Guidance Notes in Annex 5 of the QAH

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Portfolio 100 Coursework

Project output (other than dissertation) Coursework

Set exercise (not under exam conditions, e.g. critiques) Coursework

Oral assessment and presentation Practical

Practical skills assessment (including production of an artefact)

Practical

Set exercise testing practical skills Practical Table A3 – Summary KIS data Assessment Category Total % for Unit Written Coursework 100 Practical Table A4 – Assessment Criteria CRITERION

MAPS TO LEARNING OUTCOME

Knowledge of: diverse creative methods and techniques to stimulate and generate insights and ideas with design development potential

LO1, LO2, LO3

Understanding through: iterative and diverse creative experimentation in response to set and self-initiated conceptual project exercises

LO1, LO2, LO3

Technical and Applied Skills through: a range of creative outcomes demonstrating production / presentation methods and skills of conceptual thinking

LO1, LO2, LO3, LO4

REFERENCE MATERIAL2 Essential Dancher. (2011). 100 Manifestos: From the Futurists to the Stuckists. Penguin modern Classics Mau, B. (2004). Massive Change: A Manifesto for the Future Global Design Culture. Phaidon Dunne, A & Raby, F. (2104). Speculative Everything: Design, Fiction, and Social Dreaming. MIT Press Ingledew, J. (2016). How to Have Creative Ideas: A guide to creative thinking. Laurence King Kessels, E. (2016). Failed It. How to turn mistakes into ideas and other advice for successfully screwing up. Phaidon Press Berger J, (2008). Ways of Seeing. Penguin

2 Reference material should be in accordance with the Library & Learning Services guidance. Links are also provided in the Unit Descriptor Guidance Notes which form part of Annex 5 of the Quality Assurance Handbook.

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Munari, B. (2008) Design as Art. Penguin Modern Classics Perry, G. (2011). The Tomb of the Unknown Craftsman. British Museum Press Collins, Hilary. (2010). Creative Research: The Theory and Practice of Research for the Creative Industries. ava academia Cross, Nigel, (2007). Designerly Ways of Knowing. Board of International Research in Design (BIRD) Recommended

Moors, A. (2006): Simply Droog. Droog Design Hung, Shu & Magliaro, Joseph (ed). (2007) By Hand: the Use of Craft in Contemporary Art. New York: Princeton Architectural Press. Newall, L. (2007) Out of the Ordinary: Spectacular Craft. London: V&A Lawson, B, (2005). How Designers Think; The Design Process Demystifed. London: Architectural Press Schon, PA, (1991). The Reflective Practitioner: How Professionals Think in Action. Aldershon Potter, N. (2002). Things, Places, Messages. Hyphen Press London Norman Donald A, (1998). The Design of Everyday Things, London: MIT Press Johnson, S. (2011). Where Good Ideas Come From Penguin

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UNIT TITLE Product Practice Exploration 1 Unit Code FPDG5008 Location Farnham Level 5 Duration (number of weeks) 12 Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version 14th March 2016 CONTENT The purpose of this unit is for students to explore and develop individual design identity and interest through engagement with Product design project briefs within set topical themes. Briefs require engagement from inception to resolution incorporating all stages of the design process. Themes are common to all level five students across the School of Crafts and Design, though brief content may vary between subject disciplines. Whole School dialogue and debate is facilitated. Students are fully encouraged to explore contrasts of approach to their own developing design interests and techniques. Indicative School themes include:

• community engagement • social / political agenda • environment • habitat • health and wellbeing • interactive design • luxury

Indicative Product content includes:

• perception and user context • human interaction, function and service • product semantics, form and movement • product aesthetics and visual proportion • mechanical structures and material relationships • intelligent technologies, adaptive systems, sensors, actuators, textiles • sketching, exploratory modelling • digital 3D modelling and physical appearance models • design product life cycle, production materials, manufacturing and distribution

AIMS The aims of this unit are: A1 to stimulate individual Product practice interest and debate through exploration of topical,

thematic design briefs.

A2 to support disciplinary viewpoint within craft and design interdisciplinary debate

A3 to support the communication of individual Product practice through a range of skills and media.

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LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 utilise diverse research methods and analysis in the gathering and evaluation of contextual

material to inform design project work.

LO2 develop an individual, critical approach to project work recognising industry relevance and position.

LO3 communicate project work effectively – including refining, editing, selecting and production – across a range of platforms.

LO4 reflect critically and communicate individual progress with a view to informing on going personal development.


• Individual and group tutorials. • Inductions/workshops. • Seminars/lectures. • Supported Workshop/studio practice. • Research/study visits. • Professional presentations.




Weighting (%)

Typical Indicative

Assessment tasks

Where the component


assessment task




Portfolio 85 Practical design project(s) with supporting

Portfolio

n/a


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research and development.

Seminar Presentation

15 Seminar presentation of practical design project(s)

Oral presentation

n/a





Written


Report Coursework





Oral assessment and presentation 15 Practical


Practical

Set exercise testing practical skills Practical Table A3 – Summary KIS data Assessment Category Total % for Unit Written Coursework 85 Practical 15 Table A4 – Assessment Criteria CRITERION


Knowledge of: diverse research sources and methods to inform concepts and practice within thematic Product design briefs

LO1, LO2

Understanding through: a substantial body of critical, iterative design process work leading to thematic Product project brief resolutions

LO1, LO2, LO3, LO4

Technical and Applied Skills through: a substantial body of practical design work demonstrating advanced Product production / communication methods and skills

LO1, LO2

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REFERENCE MATERIAL4 Essential

Becerra, L. (2016). CMF Design: The Fundamental Principles of Colour, Material and Finish Design. Frame Publishers Bill Moggeridge (2006) Design interactions, MIT Press Fiell, C. Fiell, P (2000). 1000 Chairs. Taschen Halgrimson, B. (2012) Prototyping and modelmaking for Product Design (Portfolio Skills), Laurence King Hudson, J. (2008). 50 Product Designs from Concept to Manufacture. Laurence King Publishing Industrial Designers Society of America. (2001). Design Secrets: Products 50 Real Life Projects Uncovered. Gloucester: Rockport Publishers Per Mollerup (2001) Collapsibles, A design album of space saving objects – Thames and Hudson Rossum-Williams, M.van. (Ed) Goods 2: Interior Products from Sketch to Use. Frame Publishers Ronan and Erwan Bouroullec (2003) Ronan and Erwan Bouroullec – Phaidon Press Ltd Yoshiharu Shimizu, Takashi Kojima, Masazo Tano, Shinji Matsuda – (1991) Models and Prototypes – Graphic-Sha Publishing Ltd, Japan

Recommended

Ashby, Mike and Johnson, Kara. (2002). Materials and Design. Oxford: Butterworth and Heinemann Brownell, B. (2006) Transmaterial: a catalogue of materials that redefine our physical environment. New York: Princeton Architectural Press Burdek, B. (2005) Design: history, theory and practice of product design. Basel: Birkhauser Crane, F. A. A. and Charles, J. A. (1997) Selection and use of engineering materials, 3rd edn.

Oxford: Butterworth-Heinemann Don Norman (2007)The Design of Future Things–Published: Basic Books USA Dorothy Mackenzie (1997), Green Design, Design for the Environment Hugh Aldersey Williams (2003) Zoomorphic new animal architecture – Laurence King Publishing La Salle, D. and Britton, T. (2002), Priceless turning ordinary products into extraordinary experiences. Boston, Mass: Harvard Business School Press Richard Morris (2009) The fundamentals of Product Design - AVA Publishing

Richardson, J. A. (1977) The complete book of cartooning New Jersey: Prentice Hall


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UNIT TITLE Product Practice Exploration 2 Unit Code FPDG5009 Location Farnham Level 5 Duration (number of weeks) 17 Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version 14th March 2016 CONTENT The purpose of this unit is for students to extend and develop their exploration of individual design identity and interest. This is undertaken through engagement with industry facing Product design project briefs, set within specific topical themes. Live competition brief options will feature, with organised industry collaborations and work placement possibility also available subject to confirmation. Greater emphasis is placed upon independent critical decision taking, external industry awareness and engagement initiative. Students are expected to reflect upon the full scope of their level 5 exploration with a view to identifying potential areas of interest focus for further pursuit at level 6. Indicative School themes include:

• live projects • competitions • community engagement • social / political agenda • environment • habitat • health and wellbeing • luxury

Indicative Product content includes:

• concept design • detail design drawings process • commercial technologies and materials • market context and strategies • models for product manufacture and distribution • CAD/CAM production specification • designing with standard sections / components • composite and recycled materials • moulding and casting processes • anodizing, plating, paints and industry finishes

AIMS The aims of this unit are: A1 to extend individual Product practice interest through exploration of external facing, industry

context.

A2 to promote access to relevant external networks to inform individual interest.

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A3 to emphasise reflection upon personal development and evolving individual Product practice position.

LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 research appropriately within an external facing industry context to inform design project

work.

LO2 develop a critical approach to project work engaging with industry and other relevant external sources.

LO3 communicate project work effectively to a professional audience.

LO4 reflect critically upon level 5 outcome to inform level 6 aspiration.


• Individual and group tutorials. • Inductions/workshops. • Seminars/lectures. • Supported Workshop/studio practice. • Research/study visits. • Professional presentations.




Weighting (%)

Typical Indicative

Assessment tasks

Where the component


assessment task




Portfolio 85 Practical design project(s) with

Portfolio

n/a


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supporting research and development.

Seminar Presentation

15 Seminar presentation of practical design project(s)

Oral presentation

n/a





Written


Report Coursework





Oral assessment and presentation 15 Practical


Practical

Set exercise testing practical skills Practical Table A3 – Summary KIS data Assessment Category Total % for Unit Written Coursework 85 Practical 15 Table A4 – Assessment Criteria CRITERION


Knowledge of: diverse research sources and methods to inform concepts and practice within industry facing Product design brief contexts

LO1, LO2

Understanding through: a substantial body of critical, iterative design process work leading to industry facing Product project brief resolutions

LO1, LO2, LO4

Technical and Applied Skills through: a substantial body of practical design work demonstrating advanced Product production / communication methods and skills

LO3

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REFERENCE MATERIAL6 Essential

Aarts, Emile and Marzano, Stefano. (2003), The New Everyday: Views on Ambient Intelligence. Rotterdam: 010 Publishing Edited Authors, (2013). Inventario 07: Everything Is A Project. Corraini Edizioni Hudson, J, - Product Designs from Concept to manufacture – 2011, Laurence King Johnson, K. (2010) Materials and Design: The Art and Science of Lefteri, C. (2006), Plastics 2 (materials for inspirational design), Hove: Rotovision Liu C. (2013) Innovative Product Design Practice. Kindle Editio Powell, D. (1990) Presentation techniques, a guide to drawing and presenting design ideas. London: Little, Brown and Company. Thompson, R, - Prototyping and Low Volume Production – 2011 – Thames and Hudson Trebbi, JC. (2015), The Art of Folding: Creative Forms in Design and Architecture. Promopress Wanberg, J. (2012) Composite materials fabrication handbook #1 (composite garage series), Wolfgang Publications

Recommended

Ancona, D. (2007) X-Teams: How to build teams that lead, innovate and succeed. Boston: Harvard Business School Press Appadurai, A. (1986). The Social Life of Things: Commodities in Cultural Perspective Bramston, D. (2008) Basics product design. Worthing: AVA Chick, A. and Micklethwaite, P. (2011) Design for sustainable change, how design and designers

can drive the sustainability agenda. Lausanne: AVA Akademie Cooper, Emanuel. (2006), The Ceramics Book. London: CR Eberle, B. (2005). Creative Glass Techniques. London: A&C Black Hawken, P, Lovins, Amory B and Lovins, L Hunter. (1999). Natural Capitalism and the Next Industrial Revolution. London: Earthscan Michael F. Ashby, Material Selection in Product Design – Pub. Butterworth Heinemann Byars, M. (2003) Design in Steel – Laurence King Publishing


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UNIT TITLE Contextual Perspectives Unit Code FPDG5010 Location Farnham Level 5 Duration (number of weeks) 24 Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version 14th March 2016 CONTENT The purpose of this unit is to introduce students to a range of contextual, theoretical and critical perspectives that encourage an involved and insightful appreciation of crafts and design practices as expressions of meaning and value. With an emphasis on crafts and design as discourse, and drawing on a range of research methods and thematic content, the unit will seek to highlight relationships between creativity, production, mediation and consumption, promoting analysis and evaluation as essential aspects of creative research and resolution, and encouraging a positional approach to studio practice that identifies objects as experiences. Through the development of individually devised case-study research that is linked to studio practice, students will evidence relationships between contexts, theories and practices towards the provision of pertinent and meaningful contextual analysis and evaluation. Indicative Content:

• Material Culture and Materiality • Design Discourse and Object Analysis • Production, Mediation and Consumption • Narratives and Meanings • Functions and Aesthetics • Luxury and Value • Display and Re-presentation • Identities and Lifestyles • Design as Experience • Sustainabilities • Skill, Workmanship and Technology • Genre and Disciplinarity • Research Methods and Study Skills

AIMS The aims of this unit are: A1 to introduce a range of crafts and/or design practices in relation to a variety of contextual,

theoretical and critical perspectives.

A2 to stimulate a view of practice as evidence of experience and meaning through critical engagement.

A3 to facilitate the development of purposeful research towards positional reflection.

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LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: L01 articulate a variety of contextual, theoretical and critical perspectives that impact on creative

practice.

L02 analyse and evaluate specific creative practices within complex contextual frameworks.

L03 identify a range of research methods pertinent to involved contextual and critical analysis and evaluation.

L04 communicate sustained research through positional argument that conforms to academic conventions.

INDICATIVE TEACHING & LEARNING METHODS No. of hours of scheduled activity7 38 No. of hours of independent activity 262 No. of hours of placement activity 0 This will comprise: Lectures, seminars, workshops and tutorials. ASSESSMENT REQUIREMENTS Table A1- Assessment Components



Weighting (%)

Typical Indicative

Assessment tasks

Where the component


assessment task




Written Assignment Written Assignment

50 50

Essay Essay

Written Assignment Written Assignment

2500 2500



Written exam Written 77 This data is required for KIS. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor Guidance Notes in Annex 5 of the QAH

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Written

Written assignment, including essay 100 Coursework

Report Coursework


Portfolio Coursework





Practical

Set exercise testing practical skills Practical Table A3 – Summary KIS data Assessment Category Total % for Unit Written Coursework 100 Practical Table A4 – Assessment Criteria CRITERION


Knowledge of: A range of contextual, theoretical and critical perspectives

LO1

Knowledge of: Specific crafts and/ or design practices that evidence experience, meaning and value.

LO2

Understanding through: critical engagement with pertinent research resolved through analysis and evaluation.

LO3

Technical and Applied Skills through: the synthesis of substantial and varied contextual research towards structured narrative presented according to academic conventions.

LO1, LO2, LO3, LO4

REFERENCE MATERIAL8 Essential Clark, H & Brody, D. (2010). Design Studies: A Reader London: Berg Fallan, K. (2009) Design History: Understanding Theory and Method London: Berg Publishers Gauntlett, D. (2011). Making is Connecting: The Social Meaning of Creativity, from DIY and Knitting to YouTube and Web 2.0 London: Polity Press

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Lees-Mafei, G & Houze, R. (2010). The Design History Reader London: Berg Publishers Rawsthorn, A. (2013). Hello World: Where Design Meets Life London: Hamish Hamilton Sudjic, D. (2009). The Language of Things London: Penguin Recommended Adamson, G. (2009). The Craft Reader London: Berg Publishers Attfield, J. (2000). Wild Things: The Material Culture of Everyday Life London: Berg Publishers Connor, S. (2013). Paraphernalia: The Curious Lives of Magical Things London: Profile Books Crafts Council. (2015) Crafts Magazine (254): The Luxury Issue London: Crafts Council Crawford, M. (2010). The Case for Working with Your Hands London: Penguin Slater, D. (1998). Consumer Culture and Modernity London: Polity Press Sudjic, D. (2015). B Is For Bauhaus London: Penguin Tilly, C & Webb, K. (2013). Handbook of Material Culture London: Sage Publications Turkle, S. (2011). Evocative Objects London: MIT Press

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UNIT TITLE Ideation and Insight

(Study Abroad) Unit Code FPDG5012 Location Farnham Level 5 Duration (number of weeks) 12 Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version Course(s) to which this unit contributes

BA (Hons) Product Design; BA (Hons) Glass, Ceramics, Jewellery, Metalwork (full time, part time, 4 year); BA (Hons) Textiles for Fashion and Interiors; BA (Hons) Interior Crafts and Decorative Arts

CONTENT The purpose of this unit is to highlight the process of ideas generation and insights to creativity and design practices. This is achieved through short practical projects focusing on abstract starting points in own practice, and analysis of a finished object by others to better understand its design origins and its possible trajectories within social, cultural and economic frameworks. The former introduces students to methods for a productive, self-sufficient and relaxed attitude towards idea generation in their own work without the requirement to develop a resolution, and an awareness of the necessity to reject many ideas before reflecting on the development potential of a selected few. The latter is supported by a lecture series and places an emphasis on crafts and design as discourse, drawing on a range of research methods and thematic content to highlight relationships between creativity, production, mediation and consumption, promoting analysis and evaluation as essential aspects of creative research and resolution, and encouraging a positional approach to studio practice that identifies objects as experiences.

• Idea generation methods and techniques • Adhocism and improvisation • Material culture and materiality • Narratives and meanings • Design discourse and object analysis • Observation and insight • Speculative research • Methods of recording and evaluation • Research methods and study skills • Creative presentations and communication

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AIMS The aims of this unit are: A1 To stimulate fertile and effective creative and contextual speculation. A2 To promote evaluation of the creative potential of ideas, insights and practices. A3 To stimulate a view of practice as evidence of experience and meaning through

critical engagement. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Analyse and evaluate specific creative practices within complex contextual

frameworks LO2 Generate creative insights and ideas from a variety of given and self-initiated starting

points. LO3 Evaluate creative ideas and insights and their potential within design practice. LO4 Present and communicate a journey of ideas and insight generation to an

interdisciplinary audience. INDICATIVE TEACHING & LEARNING METHODS No. of hours of scheduled activity9 80 No. of hours of independent activity 220 No. of hours of placement activity 0 This will comprise:

• Creative workshop sessions and collaborations. • Multidisciplinary working. • Inductions/workshops. • Seminars/lectures. • Research/Study visits. • Presentation and critique


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Weighting (%)

Typical Indicative

Assessment tasks

Where the component comprises

more than one assessment

task

Assessment Type For each

component double click in the box to

see options. The options equate to the assessment types in table A2


Written Assignment

50 Essay Written Assignment

2500

Portfolio 50 Presentation Body of Work

Portfolio

n/a





Written

Written assignment, including essay 50 Coursework

Report Coursework




Set exercise (not under exam conditions, e.g. critiques)

Coursework



Practical

Set exercise testing practical skills Practical

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Table A3 – Summary KIS data Assessment Category Total % for Unit Written Coursework 100 Practical Table A4 – Assessment Criteria CRITERION There should be at least one criteria against each learning outcome for the unit


Knowledge of: Diverse creative methods, techniques and contextual frameworks to stimulate and generate insights and ideas within design practice

LO1, LO2, LO3

Understanding through: Diverse creative experimentation and evidenced research in response to conceptual and contextual project exercises

LO1, LO2, LO3

Technical and Applied Skills through: A range of creative outcomes and analyses and evaluations demonstrating presentation methods and skills of conceptual / contextual thinking

LO1, LO2, LO3, LO4

READING LISTS10 Essential Berger J, (2008). Ways of Seeing. Penguin Collins, H. (2010). Creative Research: The Theory and Practice of Research for the Creative Industries. ava academia Cross, N, (2007). Designerly Ways of Knowing. Board of International Research in Design (BIRD) Dancher. (2011). 100 Manifestos: From the Futurists to the Stuckists. Penguin modern Classics Dunne, A. & Raby, F. (2104). Speculative Everything: Design, Fiction, and Social Dreaming. MIT Press

10 Reading Lists should be in accordance with the Reading Lists policy as issued by Library & Student Services. This policy also forms part of Annex 5 of the Quality Assurance Handbook.

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Ingledew, J. (2016). How to Have Creative Ideas: A guide to creative thinking. Laurence King Kessels, E. (2016). Failed It. How to turn mistakes into ideas and other advice for successfully screwing up. Phaidon Press Mau, B. (2004). Massive Change: A Manifesto for the Future Global Design Culture. Phaidon Munari, B. (2008) Design as Art. Penguin Modern Classics Perry, G. (2011). The Tomb of the Unknown Craftsman. British Museum Press Rawsthorn, A. (2013). Hello World: Where Design Meets Life London: Hamish Hamilton Sudjic, D. (2009). The Language of Things London: Penguin Recommended

Clark, H & Brody, D. (2010). Design Studies: A Reader London: Berg Hung, Shu & Magliaro, Joseph (ed). (2007) By Hand: the Use of Craft in Contemporary Art. New York: Princeton Architectural Press Johnson, S. (2011). Where Good Ideas Come From Penguin Lawson, B, (2005). How Designers Think; The Design Process Demystifed. London: Architectural Press Miodownik, M. (2014) Stuff Matters: The Strange Stories of the Marvellous Materials that Shape our Man-made World London: Penguin Moors, A. (2006): Simply Droog. Droog Design Newall, L. (2007) Out of the Ordinary: Spectacular Craft. London: V&A Norman, D, (1998). The Design of Everyday Things, London: MIT Press Potter, N. (2002). Things, Places, Messages. Hyphen Press London Schon, PA, (1991). The Reflective Practitioner: How Professionals Think in Action, Aldershon Sudjic, D. (2015). B Is For Bauhaus London: Penguin

unit title product ideation and insight unit code fpdg5007...

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