In accordance with the general principles of the design, using the basic methods of programme design, the concept of simple design and the use of technical experiments to compare, weigh and optimize multiple programmes, the best of them. The course is selected from chapter iv of technology and design 1 of the sino-soviet version, and is the central part of the technology design process, which takes on the “design problem identification” and lays the foundation for a follow-up “programme selection and optimization”. The material is centred on the “programme conceptual approach” and emphasizes the integration of theory and practice. The design is based on the zeppian creative development, which translates abstract conceptual approaches into specific design tasks that fit the learning points of the teaching materials and allow students to feel the relevance of technology to the culture and needs of life in the region and implement universal technology cores. Academic analysis, knowledge base: students have learned design analysis and have gained a basic understanding of the basic elements to be considered in the design of their work, but have little experience in how to integrate these fundamental elements. 2. Basis of competence: students in the second grade have the basic ability to observe and to design simple ideas, and have a living knowledge of “written creations”, but there are shortcomings: we have different levels of computer use and some have no computer experience. 3. Trends of interest: students are highly interested in operating computers, but are less interested in using computers to perform their tasks, requiring teachers to monitor and provide unknown information to mobilize student interest. Teaching objective 1, technology awareness: to understand the practical value of the combination of digital tools and conceptual approaches, and to understand the significance of demand for technical services. 2. Engineering thinking: integration of cultural content, material tools, division of labour costs, etc., and rigorous planning of design and production processes. 3. Innovative design: innovative ideas are developed using four conceptual approaches, with the integration of ai tools to optimize design expression and enhance innovation practices. 4. Image expression: clear text, graphics, etc., standardized presentation of design ideas and results, and appreciation of the expression of ai drawings. 5 materialization capacity: improved on the basis of the identification of selection of material tools and elements of division of labour collaboration in conjunction with ai-generated production programmes. (c) exercise to improve programme development capacity. Focus: mastering the application of four approaches to the design of the programme and improving the programming of zepÚn works. Difficulty: students have a low computer base and how efficient the use of digital tools can be. Schooling, teacher activities, student activities, situational introduction. Guys, you've been to king hu yang park? It's a beautiful view and a rich culture. But did you bring anything from there? Since you didn't take any souvenirs, what do tourists here take? What do they remember from now on? In short, we are short of unique literature for everyone to remember zep, which both leaves tourists without a “purchase” link, hinders zep's economic development and prevents the spread of zep culture from reaching the country. So how can you design a creation that would make zeppe look at, remember, mandarin?" students: there is no design intent to build a bridge between “learning material knowledge” and “life practices” with real geographic needs as an entry point, to focus student attention quickly and to inspire a sense of design responsibility. Teacher's activities student's activities component 1: program's conceptual approach of course, a good design is not so easy to succeed as it often requires ways and means to avoid many turns. So, today, it's up to the teacher to recommend the four-hour design. 1. Core logic of morphological analysis: dismantling the clustering and achieving the “1 + 1 > 2” innovation superimposed. Definition: dismantling a creative product into separate dimensions such as the “product function” “form structure” of the “cultural element”, listing options in each dimension and generating the conceptualization of a diverse design by means of a multidimensional free combination. Zeppevin creation case: design of zeppe cultural multifunctional bookmarks - dismantling of zeppe culture bookmarks - “hoo yang / edles stripes / uncle yang ip” (cultural elements), “bookmarks / sign / positioning” (functional), “fulling / folding / folding” (forms), which combines “hu yang sky bookmarks, folding uncle yang's stickers, etc.”. Ii. Core logic of the concept: to identify product types that capture reference similarities. Definitions: using zeppe's specific cultural elements (natural, architectural, non-inheritance, etc.) as trigger points, cultural symbols are incorporated into the conceptual approach to product design by linking everyday practical products of similar properties, using scenes or emotional values. Zeppevin: define the product type: the music box selects the reference: the longevity village land building, triggering conceptions, linkage: shape. The music box that forms the "memorial + decoration" attribute, resets the building form into the outer shell, with the zeppe folk music core. 3. Core logic of question-making: multiple rounds of question-taking and integration. Definitions: a designer proposes a programme, while the rest of the members, through continuous questioning, help designers to progressively identify design needs, resolve core contradictions and eventually define the conceptual approach to design direction. Zeppevin case: presents the original proposal for the "mirac sculptor with a tea kit" - by asking why: clearly define the "non-living inheritance" objective, who uses the "visitant + tea pal" audience, what kind of process is needed: "wood sculpture" and what is the theme of the "hoo yang" element. Finalization of a practical programme for the integration of bamboo composite materials + integration. 4. Core logic of biomimication: prototype extraction signature conversion functionally appropriate. Definition: a conceptual approach that mimics the morphological, structural, colour, ethos of natural organisms (fatal and animal) or cultural symbols that directly translates into the visual design and functional characteristics of the product. Zeppevin creation case: prototype extraction: butterflies, character transformation: fanning wings, functionally appropriate: screens, additional creativity: edles silk gradually changes coloring, eventually achieving a butterflies screen with adres silk-style wings that achieves the "decoration + partition + harvest" function. Listening to memory understanding extensions design intent to provide clear theoretical support for subsequent autonomous design by reducing the difficulty of understanding abstract knowledge through a “method + creation case”. (b) [supreme] guide students to create new files on the computer desktop to record “the key words of their work (e. G. `yan leaf bookmark + embroidery”) + the concept method used is morphological analysis, the more detailed. One student is asked to describe his work according to his key words. 1. To think independently and integrate the elements of zeppe culture and the conceptual approach to the initial design. Complete the documentation to ensure clarity of key words and accuracy of method. Design intent to “learning to use”, to translate theory into initial design results, to develop self-thinking and creative expression, while paving the way for subsequent digital generation. Project iii: activities ii: activities ii: according to this fellow student, i believe we all have a broad vision in mind, but does the fellow student's own vision coincide with our own? Let's let ai generate it for us to see if we can do it all together. 1. Step-by-step instruction: 1, open the bean bag web version; 2, copy key words in the document. 2. Inspection guidance to help solve operational problems. 3. To urge students to add new keywords to the document description. 4. [demonstrations] 1: using a teacher's computer to screen the desktop of a fellow student so that all students can see the work he produces. 2. The student is asked to describe for himself the difference between the production of the work and his own vision. 3. Teachers describe the gap between this map and their own vision. [conclusion]: there must be a difference between the generation of images and people's ideas, and precise and complete articulation of the key words is key to their output compacts. Students: help me generate it using ai. Students: practical operations, production of designs. Students: describe conceptual gaps and clarify keyword messages. The design intent transforms "text thinking" into "intuitive pictures" using digital tools to enhance the visualization of the design while at the same time exercising the ability of students to express design needs in precise language. Session four: a. I. J. Iv. A. Let's get a. A. To give me an assessment. Reproduction of final works into bean bags. Copy instruction 1 from the keywords document, enter the bean bag, and run。instruction 1: i am a high school student, and the above picture is my design, and the key words are as follows: “to fill in your own key words”, and please evaluate the feasibility of producing this work from creative expressions, materials and tools, ease of processing, cost, length of time, number of personnel, seven aspects of high school competence. 100 points, presented in a form, written short comments, not exceeding 15 words per comment. On the computer of the same student, three and a half. What do you think you need to finish this work? Students: follow instructions. Students: point ai comments and answer questions design intentions generate multi-dimensional feasibility evaluation forms using ai to guide high school students to examine their work from creative, material, cost, etc. 7 dimensions systems, exercise their engineering thinking and overall assessment capabilities, and fit the core requirements of generic technology. Component v: programme development. Activity iv: programme development. Teachers, what do you do when it comes to these problems? That's good. We'll limit the material to paper material or rubber sludge, which is easy to access, and allow ai to help generate a practical “smoke” production program. Reproduction of final works into bean bags. Copy directive 2 to help generate production programmes. 3. [demonstrating] the computer of the same student, asking if it works? Students: read carefully, evaluate the feasibility of designing intent by generating a “silent model” and exercising students' engineering thinking (division of work, materials, costs, etc.), while allowing students to refine their design in their reflections and lay the foundation for subsequent practice. This is the end of today's lesson, which we have tested for the role of ai in learning, and which has helped us to create sketches and programs that we hope will be used by our students to improve their design skills, but it is important to note that ai can only help us to fill the gaps and refine the details. The subject remains you, and if we do not think about the use of ai, then we will lose the infinite possibility of the future. Students: listen to generalization, design intent, help students develop the correct ai usage habits, avoid creating dependency and weaken their own learning abilities. Book design i, four conceptual approaches to the programme ii, the use exercise for ai (bean pack) - to generate the design sketch iii, the use practice for ai (bean bag) - to generate the design programme operation and testing 1, to refer to the programme generated by ai, and to design a practical programme that meets its own conditions. E. G.: 1 adjustment material (priority for existing or low-cost materials in schools). 2 optimized division of labour (ensuring a balance of tasks for 4 people); 3 add “cultural interpretation” (showing how the work reflects the zeppe character). 2. The next session will present a revised programme for follow-up practice production. Teaching evaluation 1, process evaluation: observation of student performance in autonomous design (integrity of ideas), team collaboration (participation, evaluation of reasonableness), digitization (skill). Evaluation of works: evaluation of creative works from “cultural relevance, creativeness, conceptual application”. 3 operational evaluation: the evaluation exercise judged the effectiveness of engineering thinking by “reasonableness of programme changes (materials, division of labour), accuracy of cultural interpretation”. Post-school reflection 1 and the effect of the introduction of the situation: the meaning of the design of a literary creation is not clear enough. It should be strengthened slightly in order to raise awareness of the importance of a literary creation in zeppe county. Tools for digitization: bean packs, because of too many students, are given a limited number of analyses without log-in, do not ensure consistency of keywords, and their feeding effects are significantly reduced. Panel evaluation: this section has cut off the panel's mutual evaluation due to time, and therefore the panel's cooperation has largely not been reflected. Connectivity issues: the interface between design and production programmes is more natural. 5. Interest motivation: there is little design of communication links for students in this class, but students still perform well, show great interest in the design of ai and share results on a small scale. 6. Knowledge-based discourse: the course is time-sensitive, theoretical knowledge is delivered a little quickly in the preceding section, students are not given enough time to absorb understanding, and the choice of conceptual methods is not expressed at a later stage and is not expected to work well. 7 students ' abilities: most students do not operate well on computers, type very slowly, cannot extract too precise narratives for a limited period of time, and recommendations are focused on keywords, but this creates situations in which pictures are too different from their own ideas, and where it is possible to achieve voice input, this will greatly ease the situation. 8. Time is not enough: in the latter two stages, the ai point evaluation and programme generation did not give students enough time, the results were not very good and the benefits of closure were hasty. Scientific network (beijing) inc
