Design education in Australia is still largely dominated by Westphalian perspectives, values, histories and ways of learning. The focus on Euro-western aesthetics, technologies, timelines and processes marginalises other identities, cultures and places. This signals to students that they should internalise, value and master dominant narratives, knowledges and ways of designing. Responding to this legacy, this article details the development of an intersectional and transformative framework to guide pedagogy for design education futures. Drawing from intersectional, student-centred and transformative learning theories, we argue that students can develop self-awareness and critical evaluation skills through understanding and designing within their own histories and cultures. In applying our framework, we reflect on how we developed a communication design history curriculum that centres on previously marginalised designers and prioritises pluralistic work that comes out of diverse cosmologies, perspectives and points of view. Early results demonstrate that offering spaces for students to connect design to their own intersectional identities increases self-reflection and belonging, while engaging students to contribute new knowledges and perspectives to design history than we have had in the past. We hope this framework contributes to design education moving towards and respecting expanded ways of thinking, seeing and teaching design.

中文翻译：

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承认同一性和交叉性——设计教育未来的变革框架

澳大利亚的设计教育在很大程度上仍然以威斯特伐利亚的观点、价值观、历史和学习方式为主。对欧洲西方美学、技术、时间表和流程的关注将其他身份、文化和地点边缘化。这向学生发出信号，表明他们应该内化、重视和掌握主流叙事、知识和设计方法。为了回应这一遗产，本文详细介绍了一个交叉和变革性框架的开发，以指导设计教育未来的教学法。借鉴交叉的、以学生为中心的变革性学习理论，我们认为学生可以通过理解和设计自己的历史和文化来发展自我意识和批判性评价技能。在应用我们的框架时，我们反思了如何开发通信设计历史课程，该课程以以前被边缘化的设计师为中心，并优先考虑来自不同宇宙论、观点和观点的多元化工作。早期结果表明，为学生提供将设计与他们自己的交叉身份联系起来的空间可以增加自我反思和归属感，同时让学生为设计史贡献比过去更多的新知识和观点。我们希望这个框架有助于设计教育走向并尊重扩展的思维、观察和教学设计方式。