Prototyping to generate ideas, as part of the design process offers various learning oppor-tunities to sharpen young novice designers’ design and making skills. This study situates itself within the landscape of Makerspaces and co-design with children as emerging oppor-tunities of learning and skill building for children. From experiences of co-design with children it is often observed that children engage with outcome and object-focused model making or plain crafting with no intent of iterative prototyping for ideation. This paper describes the case of design prototyping sessions conducted with children aged 8-11 years old as a classroom activity. The sessions were investigated and analysed to reveal enablers and limitations to purposeful prototyping with children. Defining and contextualising the design problem with the children, the variety of prototyping materials for flexible build-ing, interpretation and expression, and mid-prototyping discussions were all found sup-portive to children’s purposeful prototyping.

Design projects can function as a carrier for learning a subset of 21st century skills – but how does that play out in a rural community in Kenya that is unfamiliar with this approach to design education, and in a culture and context that the developers of such design education are not familiar with? This chapter recounts the development of a workshop programme that aims to teach design-related skills to primary school aged children in the non-formal context of a community centre in rural Kenya. As a collaboration between a Dutch academic design school and a local Kenyan non-profit organisation, the project required rethinking design education for a different cultural and economic context. This impacted the educational approach, including learning goals and design goals, didactics, educator support, and communication channels. Travel restrictions due to the Covid-19 pandemic enforced a remote development process, which created space for increased agency of the participating children and facilitator. The resulting workshop instruction guide scaffolds the local facilitators’ design (education) knowledge and supports playful group learning processes.

Introduction: Paediatric patients with disorders that involve brain functioning are particularly vulnerable with respect to including them in shared decision-making. Current tools are mostly paper or digital patient information. We lay the groundwork for improving engagement with a concept that we coined ‘the Self-Portrait’. The main goals were to identify (1) obstacles and (2) design parameters that enable patient participation. Methods: A research-through-design approach was utilized in nine patients with brain-related disorders (4–12 years), 15 parents and 15 medical professionals, involving contextual research (interviews and observations) within the paediatric hospital and patients' homes and codesign. Sensitizing materials and early instances of design solutions were deployed as catalysts for communication. Five rounds of enriched interviews and design reviews were thematically analysed to answer the research questions. Results: Obstacles to child involvement were related to children's level of understanding, the time and energy necessary for information processing and lack of perceived relevance of the information. Patients' engagement is supported by design features that extend the time frame of interaction beyond the consultation, transfer information interactively and give control and influence during the consultation. Conclusion: Obstacles were detected that complicate child engagement, which differ between stakeholders. Promising design features were identified that have the potential to play an important role in enabling active child involvement. These findings show that applying principles of human-centred design research and codesign can bring together patients, parents and medical professionals around a tool that provides a shared language and focus, which are prerequisites to increase child engagement. Patient or Public Contribution: Patients, parents and clinicians contributed as design informants during contextual research and design reviews. Clinicians provided feedback on the initial outcomes of thematic analysis. Two researchers assisted in consensus sessions during the thematic analysis.

The Your Turn guidebook is a step-by-step instruction for teachers (in training) to create and implement their own design projects for upper primary and lower secondary education. It provides an overview of the variety of tools for Co-design projects with children, a step-by-step guidance, advice on the approach and striking examples. Performing these kind of projects, students gain experience with designing around appealing themes from their daily life.The guidebook is based on the results of the research project Co-design with Kids, funded by Dutch research organizations NRO and NWO. In this project researchers from Delft University of Technology and a large consortium of scientific and public partners have collaborated with teachers and pupils. This guide provides support for building co-design processes that benefit both designers and the participants

The potential space of game designs is astronomically large. This paper shows how game design theories can be translated into a simple, tangible card deck that can assist in the exploration of new game designs within a broader "design space."By translating elements of game design theory into a physical card deck, we enable users to randomly sample a design space in order to synthesize new game design variations for a new play platform ("Lumies"). In a series of iterative design and testing rounds with various user groups, the deck has been optimized to merge relevant game theory elements into a concise card deck with limited categories and clear descriptions. In a small, controlled experiment involving groups of design students, we compare the effects of brainstorming with the card deck or the "Directed Brainstorming"method. We show that the deck does not increase ideation speed but is preferred by participants. We further show that our target audience, children, were able to use the card deck to develop dozens of new game ideas. We conclude that design space cards are a promising way to help adults and children to generate new game ideas by making it easier to explore the game design space.

Het lespakket ‘Presenteer je gymidee’ is onderdeel van de nieuwe serie ontwerplessen ‘Your Turn – aan de slag als echte ontwerpers’ voor de bovenbouw primair onderwijs en onderbouw voortgezet onderwijs. Gebaseerd op recent wetenschappelijk onderzoek, bevat de handleiding een rijkdom aan mogelijkheden voor ontwerpend leren. Met Your Turn heeft de leerkracht een kant-en-klaar pakket in handen om creativiteit, communicatie en empathie te bevorderen. Hiermee doen leerlingen ervaring op met ontwerpen rond aansprekende thema’s uit de eigen leeromgeving. Elke handleiding bevat een aantal nieuwe werkvormen voor ontwerpend leren, bijvoorbeeld de omgekeerde brainstorm, puzzelen met ontwerppresentaties en het maken van een oplossingsverhaal.

Het lespakket ‘Zenna in het ziekenhuis’ is onderdeel van de nieuwe serie ontwerplessen ‘Your Turn – aan de slag als echte ontwerpers’ voor de bovenbouw primair onderwijs en onderbouw voortgezet onderwijs. Gebaseerd op recent wetenschappelijk onderzoek, bevat de handleiding een rijkdom aan mogelijkheden voor ontwerpend leren. Met Your Turn heeft de leerkracht een kant-en-klaar pakket in handen om creativiteit, communicatie en empathie te bevorderen. Hiermee doen leerlingen ervaring op met ontwerpen rond aansprekende thema’s uit de eigen leeromgeving. Elke handleiding bevat een aantal nieuwe werkvormen voor ontwerpend leren, bijvoorbeeld gebruiken van verhalen, brainstormen met plaatjes, kiezen met een keuzekruis en het maken van een videostrip.

In ‘Your Turn voor de leerkracht’ staan voor stap- voor stap instructies waarmee leerkrachten (in opleiding) een ontwerpproject over een eigen thema kunnen opzetten en uitvoeren voor de bovenbouw primair onderwijs en onderbouw voortgezet onderwijs. Hiermee doen leerlingen
ervaring op met ontwerpen rond aansprekende thema’s uit de eigen leeromgeving. Gebaseerd op recent wetenschappelijk onderzoek, bevat de handleiding een rijkdom aan mogelijkheden voor real-life ontwerpend leren. Met Your Turn heeft de leerkracht tal van werkvormen in handen om creativiteit, communicatie en empathie te bevorderen, bijvoorbeeld omgekeerd brainstormen, werken met persona’s, kiezen met een keuzekruis of het maken van een videostrip. De handleiding geeft concrete aanwijzingen om het niveau van ontwerpend leren te verhogen. Het bouwt voort op een serie toegepaste lespakketten ‘Your Turn – aan de slag als echte ontwerpers’, zie de achterflap.

Het lespakket ‘Gymmen in de Toekomst’ is onderdeel van de nieuwe serie ontwerplessen ‘Your Turn – aan de slag als echte ontwerpers’ voor de bovenbouw primair onderwijs en onderbouw voortgezet onderwijs. Gebaseerd op recent wetenschappelijk onderzoek, bevat de handleiding een rijkdom aan mogelijkheden voor ontwerpend leren. Met Your Turn
heeft de leerkracht een kant-en-klaar pakket in handen om creativiteit, communicatie en empathie te bevorderen. Hiermee doen leerlingen ervaring op met ontwerpen rond aansprekende thema’s uit de eigen leeromgeving. Elke handleiding bevat een aantal nieuwe werkvormen voor ontwerpend leren, bijvoorbeeld de omgevingsvlog, brainstormen
met plaatjes, kiezen met een keuzekruis en het geven van feedback die inspireert.

Het lespakket ‘Ontwerp een buitenles’ is onderdeel van de nieuwe serie ontwerplessen ‘Your Turn – aan de slag als echte ontwerpers’ voor de bovenbouw primair onderwijs en onderbouw voortgezet onderwijs. Gebaseerd op recent wetenschappelijk onderzoek, bevat de handleiding een rijkdom aan mogelijkheden voor ontwerpend leren. Met Your Turn heeft de leerkracht een kant-en-klaar pakket in handen om creativiteit, communicatie en empathie te bevorderen. Hiermee doen leerlingen ervaring op met ontwerpen rond aansprekende thema’s uit de eigen leeromgeving. Elke handleiding bevat een aantal nieuwe werkvormen voor ontwerpend leren, bijvoorbeeld de omgevingsvlog, kiezen met een keuzekruis en het geven van feedback die inspireert

Design feedback is an essential pedagogical tool that can help young novice designers navigate divergent and convergent paths while designing. However, design feedback is often met with resistance, which counteracts its potential to help novice designers evaluate their design and generate new solution directions. In this paper, we report on the construction and utilization of a design feedback intervention during a real-life design project with a group of primary school children (aged 8–12). The goal of the intervention was to stimulate young novice designers’ creative thinking by guiding the design feedback dialogues with their peers and clients. The intervention was designed according to the following key principles: (1) guide towards a shared understanding of the design through low-level convergent feedback, (2) stimulate critical reflection and evaluation of the design to help identify and internalize possible shortcomings through high-level convergent feedback, and (3) provide a way to move forward by guiding new generative thoughts through high-level divergent feedback. Overall, the results show that the intervention can support young novice designers, their peers, and clients in engaging in constructive feedback dialogues, thereby stimulating their creative thinking. Our main contribution entails a detailed understanding of the successes and obstacles within the feedback dialogues, as guided by the intervention. Based on these results, we propose a set of refined design principles to inform feedback interventions. With this research we hope to give insight in the complexity of design feedback dialogues, while also inspiring design educators to actively try out these key principles.

Despite the Child-Computer Interaction (CCI) community's rapid growth in the past two decades, there has traditionally been less focus on developing a curriculum to teach CCI to students. This entails a risk for a gap between the accumulation of knowledge and the transfer of this knowledge to new generations of researchers and designers. Building on previous workshops organized at IDC 2011 and 2014, the goal of this workshop is to gauge the current state of teaching CCI to undergraduate, graduate and doctoral students. More specifically, the workshop aims to re-evaluate previous lessons learned, stimulate reflection on best practices, facilitate an exchange of knowledge, and provide a forum for international collaboration. The envisioned outcome is a blueprint for a CCI curriculum that can be taught anywhere in the world.

In this paper, we explore the early indicators of design fixation occurring during the concept development stage of children’s design processes. This type of fixation, which we named: concept fixation, causes a blind adherence to the current (possibly unfavourable) state of a design idea. Its occurrence hampers the creative thinking processes present in a design process, which in turn stagnates the development of initial design ideas into final designs. Until now, research on design fixation has mainly focussed on creative idea generation in the early phases of the design process through analysing (intermediate) design ideas and completed artefacts. However, children’s fixation behaviours might be identified at an earlier moment through the conversations that take place in the classroom about their design ideas. To this end, we present a case study in which we explored early indicators of concept fixation of a group of 24 primary school children (ages 9–11) carrying out a co-design project. Fixation was observed through the manner in which the design teams responded to questions and comments from their peers and the client. Four categories of response behaviours indicating concept fixation emerged from the verbal data, namely: ‘band-aids’, ‘already-in-there’, ‘question-not-relevant’ and ‘it’s-not-possible’. We expect that the indicators will be helpful in identifying concept fixation during the design process, especially in an educational context. The process of identification of fixation, and reflecting on it, creates awareness. This is considered as an important step by professional designers towards guarding oneself from fixation episodes in future projects, and thus being more creative.

This paper presents a co-design project in a school with 16 children ages 10 to 11 in which three learning goals were defined upfront: creativity, empathy, and collaboration. The first part of the paper demonstrates how these co-design skills were implemented through an iterative process of explanation, practice, reflection, and application. Based on the results of post-interviews and short questionnaires, the second part discusses children's assessments of these skills. Whereas children reported fluctuations in applying these skills, the findings show an overall positive trend towards the end of the project. In future work, these findings will be triangulated with observational data.

In this paper, we explore the divergent and convergent nature of design feedback and the various responses to this feedback from a group of 24 young novice designers (primary school children age 9-11) taking part in a co-design project. Earlier research emphasizes that feedback can encourage a designer to take divergent as well as convergent paths during their design process (Cardoso, Eris, Badke-schaub, & Aurisicchio, 2014; Yilmaz & Daly, 2014, 2016). Yet our previous research shows, that feedback given to primary school children while designing does not always spark creative thinking (Schut, Klapwijk, Gielen, Van Doorn, & De Vries, 2019). We presume that the responses we found might have been influenced by the type of feedback that preceded them. Therefore, we have elaborated on the results we’ve previously uncovered with an additional analysis of the same case study. This additional analysis shows that divergent feedback given by peers or a client will not necessarily promote divergent thinking processes, whereas convergent feedback will not necessarily promote convergent thinking. Furthermore, responses indicating resistance towards the feedback given were widespread. However, we believe that feedback from clients and peers can still be a fruitful strategy in learning to be creative and in promoting divergent thinking (DT) and convergent thinking (CT) and end with suggestions on how this might be achieved.