Design Thinking in the Concrete Jungle
This case study demonstrates how I apply my "Bridging Passion and Pedagogy" framework in the classroom. Specifically, it highlights my commitment to "exercises that teach research, process, and problem-solving, otherwise referred to as 'design thinking.'"
By grounding a design project in a shared, real-world pain point—the notorious Mosse Humanities Building on our campus—I moved students away from abstract theory and into a "hands-on, experiential model." They were asked to navigate physical space, interview real users, and propose functional solutions that went far beyond making something look "pretty."
The Project Brief: "The Humanities Problem"
The Mosse Humanities Building is infamous among our students for its brutalist architecture, confusing layout, and lack of natural light. I tasked my students with diagnosing the building's user experience (UX) problems and applying graphic design thinking to propose a renovation, rebranding, or wayfinding solution.
Core Objectives:
User Research: Students conducted interviews to understand participants' emotional responses to the space. Responses ranged from "anxious" and "perplexed" to describing it as a "concrete fluorescent nightmare".
Visual Analysis: I required them to use "Brand Matrixes" to map the current state of the building against desired outcomes (e.g., mapping "High Quality" vs. "Low Quality" and "Good Design" vs. "Poor Design").
Divergent Thinking: Students used "Mind Mapping" and "Forced Connections" to avoid obvious solutions.
Pedagogical Alignment: Process Over Product
In my pedagogy, I emphasize that "in traditional teaching, there is a risk of homogenizing students’ work." I mitigated that risk by heavily weighting the process (research and ideation) before the final design. The diverse outcomes prove that when I help students "find their unique voices," the solutions vary wildly even when the problem is identical.
The "Biophilic" Solution
Student: Cam Erhardt & Camille Forster
Insight: Research revealed the building felt "uncomfortable," "weathered," and lacked "community".
Design Solution: Instead of just painting walls, these students proposed structural changes rooted in nature. Cam explored "Eco-brutalism," using vines and greenery to soften the concrete. Camille proposed a "Greenhouse" on the abandoned helicopter pad to foster connection.
Pedagogical Win: This aligns with my goal of "making design choices that resonated with their interests," moving beyond graphic design into environmental design.
The "Light & Structure" Solution
Student: Jessie Burton
Insight: Through interviews, the student identified that the reliance on fluorescent lighting was "soul-sucking".
Design Solution: A focused "Studio Window Upgrade" project. She applied color theory and Bauhaus inspiration to propose primary-colored window treatments that would transform the light entering the studios.
Pedagogical Win: The student focused on a specific, high-impact variable (light) rather than trying to fix the whole building, demonstrating critical problem-solving scoping.
The "Navigation & Wayfinding" Solution
Student: Rachel Alcantar & Sean Baek
Insight: Students reported getting "perplexed by the confusing architecture" and missing class due to the "maze" layout.
Design Solution: Rachel proposed a color-coded navigation system where stairwells are painted specific colors to denote location, noting that currently, "on certain floors when you are on one side of the building, you're always on the wrong side". Sean focused on "Action Verbs" such as "stretch" and "melt" to reimagine the building's physical form.
Pedagogical Win: This addresses the "practical, real-world experience" aspect of my pedagogy, solving a functional safety and usability issue.
The Facilitator’s Role: Guiding the "Brain Dump."
In this project, I acted as a "facilitator, guiding students through their creative journeys." This is evident in the structured exercises I provided:
Forced Connections: I challenged students to combine "Humanities" with random concepts like "Food", "Vinyl", or "Universal Studios". This forced them to move away from "passive recipients of information" to active, creative synthesis.
Visual Brain Dumping: I encouraged them to sketch rapidly to bypass their internal filters. This resulted in diverse sketches ranging from cafes to innovative signage.
Conclusion
The "Humanities Revamp" project is a definitive example of Bridging Passion and Pedagogy. By allowing students to tackle a local, tangible problem that they all experienced personally, engagement skyrocketed. The result was not a stack of identical "redesigned logos," but a rich portfolio of diverse ideas—from rooftop greenhouses to Bauhaus window treatments—proving that when I empower students to "explore their design styles," they become "confident, creative, and passionate about the world."