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The study proposes a collective knowledge-creation model grounded in social constructivism and constructionism, bridging physical–digital artefacts and redesigning pedagogy from master-apprentice transmission to heutagogy and paragogy. Course evolution integrates e-curriculum, industry collaboration, and Design Factory–style projects to build human-centred, critical design and STEAM-informed innovation culture.",{"@graph":14,"@context":73},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/research-report/","Research & 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Sydney University, Australia  \nAbstract  \nThis article discusses three years’ research (2012-2014) on design education towards a 2016 undergraduate industrial design curriculum launch. It contributes a pathway for conservative courses towards design culture transformation and filling gaps between them and leading breakthrough education exemplars. The course proposes a collective knowledge creation model through social constructivism and constructionism that recognises its place in time and history and allows customisation to individual upbringing. It catches up with a profession transformed beyond a digital Bauhaus manifesto that joined and revaluated physical and digital artefacts as per their environment, quality of experiences, intelligence, networks and relations. Data and findings supported pedagogy redefinition from master-apprentice and teacher-centred skill transmission models to heutagogy and paragogy. The new approach required habitus change from a traditional goods-centred discipline to human-centred focus, critical design and making, design heuristics, CDIO (conceiving, designing, implementing, operating) and STEAM (science, technology, arts, mathematics) frameworks. Participants empathetically contextualised, problem framed and solved by crossing boundaries between disciplines, institutions, industries, students’ background and society. Research and practice promoted new forms of industrial design creation happening in physical and digital coexisting spaces of being. Course units evolved around an e-curriculum component working as a digital spine. Curriculum progressed from standard top-down transmission to sociotechnical and organisational networking, industry collaboration, international design studio and Design Factory model-like projects. In doing so, it became a foundation for future physical-digital industrial design artefacts, human computer interaction, machine learning, hacker culture systems, shared information, free open-source software and hardware development within a 4.0 industrial revolution.  \nKey words  \ncultural-historical activity theory, constructivism, constructionism, CDIO, design education, STEAM  \nIntroduction  \nExperts propose design has cultural significance beyond wealth creation and situate designers as change agents, culture generators, and reference point for policy makers and intellectuals of the future (Hustwit, Beshenkovsky, Geissbuhler, & Dunne, 2009) . These claims evoke Bauhaus artist-designers’ aspiration to lead society into social wellbeing from  \na century ago. Yet, today many designers lack the intellectual and commercial preparation to lead business, politics and social change. Numerous industrial design educations are still linked to specialised assembly and manufacturing, while higher education relies on massification of teaching and strong preconditioning of outcomes for its survival. We live ina knowledge-based economy, decades after a digital Bauhaus manifesto that transferred design meaning from mass production to experience and knowledge creation. Timely, this article discusses an undergraduate design degree makeover (2012-2014) which focuses on an individual and collective knowledge production model through social constructivism and constructionism. It redefines design artefacts as tangible and intangible knowledge-based capital that realigns cultural, historical and spatial setting to address relationships between environment, people and technology. Design heuristics help overcome the physical-digital divide with empathy, contextualised human-centred and experiential design, and crossing boundaries between disciplines and participants. Social constructivism defines cognitive processes as knowledge construction by learners through their own distinctive system of knowing, making and modelling. Constructionism means the physical, digital and social pr","cbCailiz7XNFPLz2","https://ap.wps.com/l/cbCailiz7XNFPLz2","pdf",4223027,51,"English","# Abstract\n# Introduction\n## Curriculum challenge and context\n## Research questions and objectives\n## Figure 1: Environment, people and technology push-pull","[{\"question\":\"What is the main goal of the proposed industrial design curriculum?\",\"answer\":\"The curriculum aims to enable participants’ knowledge construction to develop a design-driven innovation culture in a digital era.\"},{\"question\":\"Which educational theories and learning approaches does the article emphasize?\",\"answer\":\"It emphasizes social constructivism and constructionism, and it shifts pedagogy from master-apprentice, teacher-centred skill transmission to heutagogy and paragogy.\"},{\"question\":\"How does the course address the physical–digital divide?\",\"answer\":\"It uses empathy, contextualised human-centred and experiential design, and boundary-crossing activities, supported by an e-curriculum component acting as a digital spine.\"}]","Innovating Industrial Design Curriculum in a Knowledge-Based, Participatory and Digital Era - Article Overview | PDF",1792089640,129]