International Journal of Art & Design Education最新文献

This article explores an intellectual disconnection in architectural education about the conception of wood as a building material. It explores initiatives to develop in future architects a deeper consciousness of the complex ecology of timber, promoting its sustainable use in the building industry. It explores six case studies drawn from architectural education to explore the ways in which the properties that make timber sustainable are explored through research and design, and how this deep understanding is transferred to students through hands-on applications.

Persona design aims to increase students’ ability to understand their target users and address their needs. Yet, there is a lack of conceptual frameworks that help students systematically conceptualise user needs, specifically the two key requirements of persona design: representativeness and empathy. In this study, we find an alternative method using cultural dimensions to ensure that students conceptualise personas by reflecting representativeness and empathy in a systematic way. We justify cultural dimensions and engagement aspects and suggest a classified table for representative and empathetic persona design. In a design course, we analyse personas created by students in two different groups with the table (Group 1, n = 16) and without the table (Group 2, n = 17) through comparative thematic analysis to evaluate the qualities of representativeness and empathy. As a result, the cognitive aspect of engagement is predominated in Group 2, whereas the cognitive, emotional, behavioural, and social aspects of engagement are evenly distributed in Group 1. 11 cultural dimensions are identified in Group 2, whereas 20 cultural dimensions are identified in Group 1. In Group 2, a particular dimension is predominant (44.4% of individualism), whereas, in Group 1, the rate of the most used dimension is 12.2% (femininity and collectivism). The study results indicate that the method allows students to diversify and deepen their understanding of user needs and thereby conceptualising personas in in-depth and analytical ways. From instructional perspectives, it can be used by educators to help students systematically conceptualise user needs in design activities.

This study seeks to explore the impact of social upbringing on architectural learning. The theory of “habitus” helps to understand how students’ personality dispositions might affect the way they approach learning in the “field” of architectural education. The notions of learning approaches and knowledge codes in literature are used to develop a framework for the study that helps to explore the field of architectural education. It is a qualitative study, conducted through semi-structured interviews with 44 students in 10 architecture schools in Pakistan. Interviews explored students’ habitus as well as their learning approaches, later explored through the framework developed in the study. Interviews are transcribed and coded using Nvivo 12. A detailed analysis explores the connection between habitus and learning approaches and finds out that habitus plays a major role in determining the way students approach learning in Architecture, with most cultivated habitus students showing a deep learning approach.

This study investigated visual arts college students’ perceptions of the gender stereotyping of creativity and the influence of this stereotyping on creative self-efficacy. The sample consisted of 1198 Chinese visual arts college students. The results showed that (a) both male and female students identified stereotypically masculine traits as more important to creativity than stereotypically feminine traits are, (b) male students demonstrated higher creative self-efficacy than their female counterparts did, and (c) students’ gender significantly moderated the effect of the gender stereotyping of creativity on creative self-efficacy. Specifically, the gender stereotyping of creativity had a positive effect on male students and a negative effect on female students. These findings revealed that gender stereotypes dominate concepts of creativity in Chinese art education and may hinder female students’ development of creative self-efficacy, resulting in gendered inequality in the visual arts field. The implications of these findings for visual arts education in China are discussed.

In this article, we discuss our struggles and efforts to respond to Asian American and Pacific Islander (AAPI) hate crimes and anti-Asian racism, as well as explore ways to address the issues of anti-Asian racism, violence, myths, and stereotypes in the art classroom. We researched and learned from contemporary Asian American artists, attended anti-racism virtual talks, and examined various anti-racism pedagogical approaches. As an outcome of our research to confront anti-racism, we developed S-R-C strategies to engage students with art-based anti-racism, which include facilitating a sense of belonging (S), resisting anti-Asian racism (R), and coalescing with other minority groups and allies (C). These strategies were developed to fully embrace the equity, diversity, and inclusivity of AAPI sequentially and holistically. This article also reports how we use the S-R-C strategies to guide our pre-service art teachers to confront anti-Asian racism and advocate for anti-racism teaching practices.

Although there has been increasing international emphasis on creativity in education, many creativity training programmes have focused on enhancing students' creative thinking skills with few studies on how these skills can be integrated into the teaching of subject disciplines. As a member of a Community of Practice project that ran from spring 2021 to summer 2022 at my university, I worked with ten university teachers from multiple disciplines to develop and implement instructional strategies to foster students' creative thinking skills. The paper documented the development, implementation and evaluation of creative thinking skills teaching strategies for a higher education course in visual arts. Both the development of the teaching strategies and the measurement of the impact on student learning have undergone vigorous research procedures and made reference to the existing literature. The effectiveness of the activities was assessed using multiple methods including the Torrance Test of Creative Thinking, a self-report inventory, and a focus group interview. The results indicated the new learning activities enhanced students' creative thinking skills. They also showed that creativity can be developed through teaching while revealing that playfulness, freedom and structure, group interactions, and problem-solving activities are beneficial for the development of creative thinking skills. Readers may better understand the different ways in which creative thinking skills instruction materials can be developed and incorporated into teaching of visual arts by making reference to the strategies suggested and the process of development in the paper.

Metaverse is understood with technological terms such as augmented reality, lifelogging, mirrored worlds, and virtual worlds, and using a metaverse platform is considered an emerging form of learning. Yet, its pedagogical features, such as self-learning, collaborative learning, and learning-by-doing, are identical to those of online learning. In this study, we argue that metaverse-based learning refers to a new reality learners create by assuming that the existence of reality is different in the metaverse. We extracted six educational values in epistemological and ontological senses, reviewing the four realities of the metaverse, including virtual reality, augmented reality, mixed reality, and extended reality, which is a way to avoid technological determinists'; approach to education. Based on the values – bottom-up, collaboration, authorship, ownership, interconnectivity, and community, primary school children's (year 5 & 6) groups (n = 20) redesigned 20 assigned school spaces such as classroom teacher office, science room, and music room on their chosen metaverse platforms. Throughout the thematic analysis of design artifacts, activity scenarios, and reflection & presentation, we discovered four themes: collaborative learning with co-ownership and co-authorship; being interconnected with all living and non-living things; co-participants with different roles; and transdisciplinary research-driven learning, which is used to articulate a framework for metaverse-based learning, which is different from online learning.

We investigated the impact of the transition to online architectural design studios in response to the COVID-19 pandemic at the University of New South Wales in Sydney, Australia. The study focussed specifically on student and tutor perceptions of online design studio before the sudden transition to online delivery, and how those perceptions shifted through the initial months of online delivery. We consider the pedagogical context in which the shift to online teaching took place and the evident successes and failures in the early iterations of online studio. We discuss similar and contrasting perceptions in student and tutor groups and observe the changes in these perceptions prior to and after teaching and learning in online studios. The paper concludes with a series of questions directed to the architectural design studio teaching community regarding the apparent inevitability of a future in which both FTF and online-only studios are surpassed with hybrid design studios.

Due to the pandemic conditions, hands-on courses in architectural education were conducted remotely and their presentation had to be reconsidered. Hands-on courses, by their nature, support learning and learner-instructor interaction in the classroom environment. It was necessary to develop innovative solutions to ensure this interaction in virtual classrooms. This study discusses a method we experienced in the 2021–2022 spring semester of the “Principles of Digital Design and Fabrication in Architecture” course given at Gazi University. To combat potential interaction deficits, “problem-based learning (PBL)” and “learning by doing (LBD)” teaching methods were applied. While reflecting on foreseen problems in the curriculum on the students, we determined the distance education process causes different reflections on students in terms of digital modelling and fabrication techniques. All constraints and problem determinations obtained by the students were classified and a way to solve these problems developed with the LBD style. By the end of the course, the students, who were expected to design a small 3D object, first designed the mould then realised their fabrication of the object. In this process, while the foreseen problems and curriculum determined at the beginning overlapped, other problem determinations and their reflections formed an important base for the future curriculum.

Learning takes place in various spaces through human and nonhuman interactions. Considering the urgent need for rethinking how humans relate to nature, in this article we present a MA level course in the context of art, craft and design to discuss how learning with the natural environment approach can impact learning experiences. We introduce walking with nature as a creative method that fosters students’ ability to let the environment actively shape their creative events. The encounter with nature-based materials in their different forms and following the material's flow provides students with a foundation for their creative processes. This study proposes that walking can facilitate the entanglement between the student's knowledge and encountered materials, generating an emotional and dialogical relationship with the natural environment that contributes to a holistic learning experience. We propose that such an experience can help in comprehending the importance of the caring actions we need to take and maintain towards the nonhuman world.