International Journal of Art & Design Education最新文献

The aim of this paper is to contribute to the concept of design literacy by exploring what it means to learn design literacy through making. To support my argumentation, I draw on a case study where I followed two student teachers of design and craft as they learned design literacy through woodworking. Due to Covid-19, the learning environment was located at the students' homes rather than the design and craft studio at the university. Two research questions guide the case study: What stories does the student recall from learning woodworking and what do these stories provide that are relevant for learning design literacy? Three ‘making’ stories are presented from the case study: (1) Making with the unknown, (2) Making alone educationally, and (3) The affective and embodied making. These stories provide numerous making skills that are relevant when teaching and learning for design literacy, which is further discussed in the paper.

The state-of-the-art literature indicates an increasing need for co-design education as it is imperative to equip future designers with the co-designing mindset. This derives from the significance of involving ‘people with lived experience’ in co-design processes to better meet their needs. However, the traditional design education system seems to include mostly individual designing skills, causing a lack of skills in design students to facilitate the active participation of people in co-design. This paper reports on a case study carried out in a third-year Bachelor industrial design engineering course with design students (n = 32) and design educators (n = 4) to find an effective and efficient way of preparing future designers for their role in co-design and to gain insights into design students' experience with learning about co-design. As an instructional method, a co-design workshop including the game-play, game-modding and game-design approaches is introduced. The obstacles and confusion of the design students regarding co-design and co-design education, which they have documented throughout the year on their personalised logbooks, are explained to eliminate them in the future for smoother incorporation of co-design education into design education curricula. Lastly, for future designers' mindfulness of co-design and their role as facilitators suggestions are provided such as accreditation of curriculum activities regarding co-design education.

This paper introduces the life and work of art educator and designer Kurt Rowland (1920–1980) who authored the first set of textbooks on visual education and played a role in the shifting world of art and design education in post-war Britian. We detail the foundational experiences of his extraordinary life in the first half of the 20th century including surviving the Spanish Civil War and La Retirada, being a ‘friendly enemy alien’, and becoming one of the Dunera boys forced into Australian internment camps. He later went on to develop a new aspect of art and design education he called visual education. We explore Rowland's notion of a visual education, explicating its features, appraising its import, and situating Rowland's ideas to those of his contemporaries. We explore his motivations and how his work advanced art pedagogy. Finally, we argue that Kurt Rowland has been absent in recent literature on art and design education and that his work, which contains elements that have continued relevance today, should not be overlooked.

As the sustainable fashion movement gains momentum, there is a growing need to introduce such concepts to the next generation of fashion designer. One approach to produce sustainable designs is upcycling, defined as the salvage and reuse of discarded or found items into new products. This study examines a pedagogical approach for engaging 2nd year undergraduate textile and fashion design students in sustainable fashion design practice. Working in groups, students are challenged to upcycle old clothing into a little black dress, using a keyword as direction for concept, design development, and garment construction techniques. To elevate value in post-consumer textile waste, it is necessary to develop high-quality contemporary design outcomes. This teaching approach aims to encourage the revaluation of recyclable resources, the exploration of the creative potential of fabric manipulation techniques, experimental design development, and professional production techniques. This is achieved through the implementation of a design brief that establishes original approaches to upcycling, contrary to the arbitrary processes that are typically used.

Understanding changes to student wellbeing on design modules in a distance higher education setting is difficult. Previous research suggested that environmental, study and skills-related barriers impact the wellbeing of learners at a distance. This study sought to understand the experiences of barriers and what enabled distance design students’ wellbeing. It identifies avenues to balance tensions between conflicting experiences of studying design and maintaining wellbeing that our participants disclosed in a longitudinal, qualitative study using repeat interviews, experience sampling and a diary study. The findings provide insights from the learners’ perspectives. Students reported strategies on how to deal with open-ended design projects and how to cope with feedback. They revealed how they currently seek and receive support for design work and wellbeing. We uncovered how learners keep to deadlines and how they approach social learning. The study also exposed enabling study rhythms to facilitate creative flow and how creative environments are set up in the learners’ homes. Our findings suggest that educators and designers of hybrid and distance design education should pay attention to three key aspects: dealing with uncertainty, learning satisficing and managing creative flow, to enable design students’ wellbeing.

This paper aims to interrogate the design studio conversations between teachers and students in order to explore the indicators regarding empathy. To investigate design conversations occurring between design teachers and design students, participant observation studies were conducted at two universities in Finland and Turkey. As an empathic indicator, we addressed (1) how design teachers take the perspective of other agencies and (2) what deliveries are utilised for empathic perspective-taking. It was understood that design teachers identify themselves with both human and non-human agencies as design students, users and materials. Moreover, deliveries leading to the identification of design teachers with these agencies included both discursive and performative means.

This article reports on research focused on a visual arts education course offered during a primary teacher training in Chile. It was driven by the increasing cultural diversity in Chilean schools, the potential of art education to respond to this context and the limited space that this field has in the national curriculum, an issue that is replicated in most teachers’ training programmes. Intercultural and students’ cultural funds of knowledge theories informed a framework that was implemented in the investigated course to strengthen pre-service teachers’ cultural identity and the adoption of culturally inclusive practices. Through focus groups with the students and analysis of their visual journals, the research explored whether the course impacted their perception of visual arts education, and their cultural identities. Through a/r/tography, an arts-based methodology that articulates art, research and education, the study presents the students’ voices and imagery, testimonies that contributed to reassess the space given to art education in primary schools and teacher training programmes.

We compare epistemologies and aesthetics in the International Baccalaureate Diploma Programme and the Australian New South Wales Stage 6 Visual Arts Syllabus, focusing on curriculum content, pedagogical praxis, and assessment strategies. Both curricula feature making, reflexivity, and critique. International Baccalaureate components are Exhibition, the Process Portfolio, and the Comparative Study. In New South Wales Visual Arts they are the Body of Work and Visual Diary. Issues are the teacher as curriculum; uneven resources; shifting contexts and formulating standardized expectations. In both, qualitative assessment and examination are achieved via articulating criteria and levels of achievement, and examiner training. In International Baccalaureate, what counts as good work can vary in relation to Principal Examiner standards, particularities of context, pedagogy, and resources, with work ranging from sophisticated installations, to anime, to the school art style. In New South Wales Visual Art aesthetic conventions are reinforced because the system is less distributed than International Baccalaureate, where aesthetics become engrained, perpetuating conventions around what counts as good art. In spite of supervening assessment structures, teaching, learning, and assessment in visual arts education is always highly qualitative, unfolding, and rooted in the situated shifting conditions and ways of being in the world of each teacher, student, artwork, examiner, artist, and scholar.

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.

This article investigated the multifaceted role of artists in educational programmes, focusing on the challenges they face while balancing their identity as artist-teacher, artist teacher, artist-educator, and artist educator. This research was conducted in two phases. Phase one interrogated the effectiveness of artists taking on dual roles as both artists and educators/teachers within international and New Zealand's educational programmes. This phase advocated for artists to embrace their original role as artists without the additional burdens of other roles. Moving to phase two, this research employed the method of document analysis to investigate the historical and current engagement of artists in students' museum education within the context of New Zealand. Historically, artists were considered as art technicians with no direct involvement in art teaching or creation. Although the current LEOTC and ELC programmes in New Zealand value artists' contributions to art education, they do not indicate artists' involvement in these two programmes. Drawing from the findings of phase one and two, the study proposed a novel model that emphasises the integration of three elements: learning environment (art museum), people (artists), and objects (artworks). This model suggested that the combined action of these three elements could lead to a transformation from teacher-led teaching to student-centred learning in art education. Such a transition held the potential to enrich students' educational experience through collaborative efforts between artists, museum educators, and schoolteachers, and also enhance students' interdisciplinary learning experiences.