Design for occupational safety and health: an integrated model for designers’ knowledge assessment
MetadataShow full item record
AbstractOne of the approaches to mitigate occupational safety and health (OSH) risk on construction projects is the design for occupational safety and health (DfOSH) initiative. The DfOSH initiative places a duty on designers to originate designs that are inherently safe for construction, maintenance, occupation and demolition. To achieve this goal, designers must possess appropriate knowledge of OSH risks as they relate to construction products. However, what constitutes DfOSH knowledge of designers is still not clear in the extant literature as well as in practice. Hence, this study systematically reviews literature of prior conceptualisations of the knowledge construct, undertakes contents analyses and provides a robust conceptualisation as a basis for its meaningful operationalisation with regards to DfOSH. The robust conceptualisation of the knowledge construct underpinned the development of a nomological network to operationalise the DfOSH knowledge of designers. The study presents knowledge regarding DfOSH as a multi-dimensional construct that can be measured at various levels of specificity. The integrated model can serve as a guide for clients to clarify the DfOSH knowledge of prospective designers in the procurement process. Respectively, designers intending to improve on their DfOSH knowledge can similarly be guided by this model to identify their DfOSH knowledge gaps and subsequently take steps to overcome such knowledge deficiencies. Additionally, the model invokes further studies, both theoretically and empirically, into how designers’ DfOSH knowledge can be effectively harnessed and enhanced for managing OSH risk.
CitationAdaku, E., Ankrah, N. A. and Ndekugri, I. E. (2020) Design for Occupational Safety and Health: An Integrated Model for Designers’ Knowledge Assessment, In: Sherratt, F., Hare B. and Emuze, F. (Eds.) Proceedings of the Joint CIB W099 & TG59 International Web-Conference 2020: Good health, Wellbeing & Decent Work, 10th September, Glasgow, UK, pp.216-227.
PublisherCIB W099 & TG59
DescriptionThis is an accepted manuscript of an article published in the Proceedings of the CIB W099 & TG59 Annual Conference 2020 (webinar). The accepted version of the publication may differ from the final published version
Except where otherwise noted, this item's license is described as https://creativecommons.org/licenses/by-nc-nd/4.0/
Showing items related by title, author, creator and subject.
Designing in creativity: an investigation into the role of creativity in graphic designArya, Rina; Meachem, Carol (University of Wolverhampton, 2021-02)Graphic design practice is currently entrenched within a process-driven, formulaic approach to design that is time constrained and closely aligned with the working practices of the business environment. This approach is not conducive to creativity. Although design institutions recognise the call from UK governments for increased creativity and innovation in support of economic, social, and cultural initiatives the current commodification of knowledge, developed in response to the needs of business and industry, has its limitations. There is today a tension in the academic community between the pursuit of creative practice as a valuable entity in itself and the preparation of graduates for employment. There is a growing concern within the industry at the educational marginalisation of creativity within the design process in an attempt to remain current with technological and professional skilling. The intellectual and theoretical underpinning of graphic design is weak with little scholarly debate in relation to creativity and critical thinking. The aim of this research therefore is to support future practice and educational initiatives by developing a new theoretical and contextual framework from which to engage with both industry and education. Utilising a mixed method approach together with the insider/outsider status of the researcher working as both a design practitioner and design educator the research addresses the following questions: what is the role of creativity in graphic design? Why is creativity important to graphic design education and industry practice? How can creativity be facilitated within graphic design education and industry practice? A small-scale qualitative online survey was conducted initially in the form of a targeted emailed questionnaire. It collected opinions, knowledge, and experiences from 9 universities within the UK Higher Education sector and a small number of industry practitioners. The aim was to gain insights from a cross-section of individuals most likely to have special knowledge about the research topic and provide a snapshot of how things are currently. The study built on these insights by considering creativity in different contexts and demonstrates through substantial critical investigation and analysis the theoretical and contextual knowledge underpinning discussions in relation to creativity. It explores the significance of creativity as a term and an activity in graphic design. It examines possible explanations for the marginalisation of creativity in graphic design by looking at the historical precedents for the split between the fine and applied arts and the impact that this has had on the way that design has been taught and practiced. The findings confirm that understanding the role of creativity within practice is fundamental to ensuring that graphic design remains relevant in twenty first century culture and society. However, what creativity is and the various forms it can take may be different to what is currently recognised by education and industry practice.
The relationship between software skills and subject specific knowledge, theory and practice.Marshall, Lindsey; Austin, Marc (University of Wolverhampton, 2004)Previous research (Marshall & Austin, 2003) suggests that there is a need for theory to be integrated with practice in design subjects. There is current concern that the acquisition of software skills is taking priority over subject specific knowledge and skills. This is seen as a source of some tension between design education and industry, as many employers require graduates to have knowledge of software prior to employment. Integrating these skills into the curriculum alongside developing creativity and theoretical/contextual understanding is proving difficult for education. Although technology plays an integral role in the production of designed artefacts, it is an adjunct to the core content of courses which is an understanding of the knowledge and skills associated with design, their application to creative problem solving and contextual/ theoretical understanding of issues related to design and a broader field. There is national and international debate around this issue. Justice (1999) expresses concern about space in the curriculum, stating: ‘Before computers, faculty may have had a full semester to teach a beginning typography course. Now, they have a full semester to teach typography and the several software packages the students will use to complete the typography projects.’ (Justice, 1999, p.54)