Educating the Designer of the Future

AUTHORED BY

Sachel Josefson, PhD, Bemidji State University

Bonnie Higgins, PhD, Bemidji State University

When the production of meaningful exhibitions, events, and exhibits became a viable industry, commercial artists and others that could draw were in great demand to design these events, places, and spaces. Over time, technology caused the organizational model for such events to change substantially.

These technol ogical changes forced professionals within the exhibitions and event industry to evolve as well. Today, many design professionals find themselves working in an industry that has bec ome increasingly more experiential. This evolutionary shift has become apparent, causing many members in the field to seek a new kind of professional designer.

In academia, Bemidji State University (BSU) in Minnesota, USA, boasts one of the select few design programs in the world that prepares young designers for the exhibition and event industries. Since the early 1990s, BSU’s Experiential Exhibit Design program has educated a steady stream of qualified designers from all over the world, including students attending from Malaysia, Moldova, China, India, Japan, Uzbekistan, and other international countries. According to Rob Majerowski, VP of Creative at MG Design, “I’ve hired two BSU grads in the last three years… As students, they are constantly meeting a wide variety of industry experts, and I believe that exposure prepares them well for the start of their career… BSU education reduces the job training and ramp up time. We love the relationship we’ve built with BSU over the years.” In other words, BSU students do not simply digest facts and theories; they learn how to think strategically and creatively from industry experts, preparing them for related design careers following graduation.

To ensure the value of design education and the momentum of BSU’s program, faculty sought to better understand what skills and knowledge are required of future professional experiential designers. Thus, in 2017, faculty from BSU’s Experiential Exhibit Design program conducted research with industry members to define courses and essential competencies required for students to become successful experiential exhibit designers. Clearly, the new breed of experiential design students will need to learn the design process, as well as all the traditional skills, theories, and creative problem-solving abilities previously taught. However, for now and into the future, these designers will also require a set of skills and knowledge that go beyond the typical scope of design professionals employed today. The research revealed necessary competencies, such as to:

U nderstand a wide scope of experiential design terminology and processes.

Mas ter tools, technology, and equipment to run comprehensive design software.

Implemen t design thinking to identify human behavior which shapes exhibitions, events, and experiences.

U nderstand budgeting, costing, and estimating design projects.

Be f amiliar with a broad range of materials and lighting.

U nderstand production, fabrication, and engineering practices.

Apprecia te and apply the ethics, rules, and regulations of the industry.

Know cognitive, social, and cultural psychology theories related to designing experiences.

Empl oy strong communication skills, address diverse audiences, and speak articulately to groups of people.

U nderstand sustainable building theories and practices.

Prototype design solutions through 3D printing or other fabrication processes.

U nderstand and appreciate distinctions among and between the exhibitions/ events industries throughout the world.

U nderstand and practice professionalism and business etiquette.

U nderstand the CAD detailing process.

Facilitate experiential marketing strategy and the important relationship to design.

U nderstand project management methodology.

These c ompetencies were revealed through focus groups conducted with members of the design industry.

Faculty from BSU’s Experiential Exhibit Design program translated participants’ interpretations into courses and essential c ompetencies. Thus, these findings serve as foci for multidisciplinary courses in technology, art, design, c onstruction, and business; and they will be used to shape the direction of future curriculum at Bemidji State University. Due to the nature of design education and the needs of the design community, a continuous dialog is vital to the continued success of BSU Design and Bemidji State’s contribution to preparing professional designers now, in the future, and beyond.