Arts & Design Thinking

Years 7–8 Arts and Technology: Human-centred design thinking integrated with creative arts practice. Students work through Empathise → Define → Ideate → Prototype → Test to solve real problems.

Arts & Design Thinking

Ko tōu reo, tōu ohooho; ko tōu reo, tōu māpihi mauri.

Your voice is your inspiration; your voice is the precious jewel of your being.

Year Level Years 7–8
Curriculum Areas The Arts · Technology
Duration 6–8 lessons
Assessment Design portfolio + final prototype

He Aha Tēnei? — What Is This?

This unit merges the design thinking process with creative arts practice. Students learn to empathise with real users, define problems clearly, generate ideas freely, build prototypes, and test them — all while developing visual arts skills and connecting to Māori principles of whakaaro hou (innovation) and manaakitanga (caring for others).

Students Will Learn To

The sub-unit Unit 50 Phase 3: Arts & Design provides an extended version of this content for Years 9–10 with NCEA connections.

Raupapa Akoranga — Lesson Sequence

Stage Focus Arts Skill Key Activity
1 — Empathise Understanding users: interviews, observation, shadow Observational drawing, visual note-taking Interview 3 people; create empathy map poster
2 — Define Problem framing: "How might we…?" statements Typography, layout, visual hierarchy Craft a problem statement; create an illustrated brief
3 — Ideate Divergent thinking: quantity over quality first Sketching, colour theory, brainstorm maps Creative Problem Solving workshop ; 50 ideas in 10 minutes
4 — Prototype Making a low-fidelity model to test ideas Form, texture, material exploration Sustainable Tech Design Challenge
5–6 — Test & Present User feedback → iteration → final version Presentation design, artist statement writing Gallery walk critique; final portfolio presentation

He Kōrero mā te Kaiako — Teacher Notes

Mātauranga Māori Connections

Differentiation

Common Mistakes to Avoid

Ngā Rauemi — Resources

Aromatawai — Assessment

Design Portfolio (ongoing)

Students maintain a design journal throughout the unit documenting each stage with sketches, notes, and reflections. Assessed holistically at the end.

Final Prototype + Presentation

Students present their final design to an audience (class or invited community members), explaining: the problem they solved, their process, what they changed after testing, and what they would do differently next time.

Assessment Criteria

Criterion Achieved Merit Excellence
Empathy & Problem Definition Identifies a real user need Articulates a nuanced problem statement Demonstrates deep user understanding with evidence
Creative Process Documents ideation with multiple ideas Shows clear selection reasoning Iterates meaningfully based on testing
Arts Skills Uses visual elements purposefully Demonstrates skill in chosen medium Strong aesthetic voice and material control
Communication Explains design decisions Connects choices to user needs Reflects critically on learning and next steps

📋 Teacher Planning Snapshot

Ngā Whāinga Ako — Learning Intentions

Students will engage with design thinking as a creative and cultural practice, drawing on toi Māori — the arts as an expression of whakapapa, identity, and community values — to develop innovative solutions to real-world challenges. Students will explore how Māori artistic traditions embody sophisticated design thinking rooted in tikanga and te ao Māori.

Ngā Paearu Angitū — Success Criteria

  • ✅ I can apply the design thinking process (empathise, define, ideate, prototype, test) to a creative challenge.
  • ✅ I can identify how Māori visual arts traditions reflect design principles and cultural values.
  • ✅ I can evaluate my design process and explain how I incorporated feedback to improve my work.

Differentiation & Inclusion

Scaffold support: Provide step-by-step design thinking templates for entry-level access. Offer extension tasks requiring students to independently identify a community need and develop a prototype solution, integrating cultural design principles.

ELL / ESOL: Pre-teach design vocabulary (prototype, iteration, empathy, ideation). Allow students to sketch ideas before writing. Visual communication is a valid mode of expression in arts and design contexts.

Inclusion: Offer choice in materials and media to ensure access for all learners. Neurodiverse learners benefit from clear task structure, visual exemplars, and the tactile nature of prototyping. Ensure the classroom environment supports creative risk-taking without judgment.

Mātauranga Māori lens: Connect design thinking to toi Māori — the mauri (life force) in creative work, the role of whakapapa in informing aesthetic choices, and the principle that great design serves the wellbeing of the collective (whanaungatanga). Explore how Māori weaving, carving, and tā moko embody iterative design processes refined over generations.

Prior knowledge: No specialist prior knowledge required. Best positioned after foundational arts exploration.

🚀 Extension Activities

Three pathways that go deeper into the same design process rather than adding unrelated work. Each one reuses a tool ākonga already know from Lessons 1–5, so the extension is more practice at thinking, not a new set of instructions.

Entry-level — Interview one more user

Ākonga run a second empathy interview (Lesson 1) with someone outside their original user group: a younger student, a caretaker, a whānau member. They add the new observations to their empathy map and mark which of their original insights survived contact with a different person. Deliverable: an updated empathy map with the new voice in a different colour, and one sentence naming what changed.

Developing — Test the same prototype against a second POV

Using the Point-of-View statement method from Lesson 2, ākonga write a second POV for a different user, then test their existing prototype against it without rebuilding. The point is to discover that a design fit for one user often fails another, and to say why in the language of needs rather than preferences. Deliverable: a second Feedback Capture Grid (Lesson 5) plus a short written judgement — does this design serve both users, one, or neither?

Mastery — Run the full cycle on a real school problem

Ākonga apply the whole sequence to a live problem in the school that a named person actually has: queue congestion, a lost-property system, a shared space nobody uses. They must interview that person, define a POV and How Might We question, prototype once, test with the same person, and iterate. Where the design touches shared space or tikanga, they check with the appropriate staff member before proposing it. Deliverable: a one-page design case: POV, HMW, prototype photo, what the user did, what changed, and what they would test next.

🔗 Unit Progression & Next Steps

The five lessons are one pass through the design thinking cycle, and each one hands the next its raw material. Nothing here works as a standalone lesson: Lesson 3 has nothing to ideate about without Lesson 2's problem statement, and Lesson 5 has nothing to test without Lesson 4's model.

  • 📖 Lesson 1 — Empathise: ākonga interview a real user and build an empathy map, learning that design starts with listening rather than with a solution.
  • 📖 Lesson 2 — Define: the empathy map becomes a Point-of-View statement and a How Might We question, so the class is solving a stated problem rather than a guessed one.
  • 📖 Lesson 3 — Ideate: divergent brainstorming against that HMW question, then a convergent vote under real constraints, ending with one committed concept.
  • 📖 Lesson 4 — Prototype: ākonga name the assumption they most need to test, then build a low-fidelity model fast enough that they are willing to be wrong about it.
  • 📖 Lesson 5 — Test: the original user meets the prototype. Ākonga observe in silence, sort the response into a Feedback Capture Grid, and justify one iteration with evidence rather than taste.

Where it goes next. The habit this unit builds — define before you solve, test before you commit — transfers directly into the technology strand's design brief work and into any inquiry where students propose a change. Ākonga who want the same cycle at greater depth should take the Mastery extension above and run it on a live school problem with a named user.

📖 Lesson Sequence

Lesson 1: Whakaaroaro — Empathise

Interview a real user and build an empathy map. Design starts with listening, not with a solution.

Lesson 2: Tautuhi — Define

Turn the empathy map into a Point-of-View statement and a How Might We question, so the class solves a stated problem rather than a guessed one.

Lesson 3: Whakaputa Whakaaro — Ideate

Brainstorm widely against that question, then converge under real constraints and commit to one concept.

Lesson 4: Hanga Tauira — Prototype

Name the assumption most worth testing, then build a low-fidelity model fast enough to be willing to be wrong about it.

Lesson 5: Whakamātau — Test and Iterate

The original user meets the prototype. Observe in silence, sort the response, and justify one iteration with evidence rather than taste.

Pedagogical Foundations | Ngā Tūāpou Akoranga

Arts and design thinking are not soft supplements to STEM — they are rigorous cognitive modes that develop capacities formal schooling consistently neglects. Three researchers explain why this unit’s integration produces genuinely different learners.

Aesthetic Experience
John Dewey
Dewey’s Art as Experience (1934) argued that aesthetic experience — the satisfaction of making something complete, coherent, and expressive — is one of the highest forms of learning, not decoration around it. Students who create work they are genuinely proud of, that went through genuine iteration and critical reflection, have learned something that stays. The arts process is the epistemological process.
Multiple Intelligences
Howard Gardner
Gardner’s multiple intelligences framework reveals why arts and design thinking matter systematically, not just for “creative” students. Visual-spatial intelligence, bodily-kinesthetic intelligence, and musical intelligence are all developed through arts practice — and they are the intelligences most consistently underserved by text-and-number-centric schooling. This unit makes them the primary mode, not the supplementary one.
Critical Pedagogy
Paulo Freire
Freire argued that art is one of the primary vehicles through which the oppressed name and transform their world — not as therapy or self-expression, but as a form of political and epistemic action. Design thinking that asks “what problem does this solve, for whom, and why does that problem exist?” is Freirean design thinking. Students in this unit are not decorating; they are practising a form of critical formation through making.

→ Explore all theorists at Te Whare Ako — Teaching Theory

Wāhi Ako | Choose Your Lens

This version
Arts & Technology Integration
Five design-thinking phases taught through Visual Arts and Technology together. Dewey, Gardner, and Freire. Also accessible via the year-level catalogue path.
Start Lesson 1 →
In development
Technology — Design Process
A second route through the same five phases, being written toward a Technology-strand emphasis on a community technology challenge. Its lesson bodies are currently the same as this route’s — the distinct version is still being authored, and we would rather say so than have you discover it mid-lesson.
Start Lesson 1 →

🧺 Ngā Rauemi Katoa | All Resources in this Collection

Curriculum Alignment

How Arts & Design Thinking aligns with the New Zealand Curriculum (Te Mātaiaho) — audited, verbatim statement connections.

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