International Journal of Art & Design Education最新文献

Workshops create a collaborative and/or sharing environment that supports our design education and turns it into an interactive one. They are important meeting places for students who continue their design education in different disciplines in different places to communicate and provide common working platforms. Therefore, such organisations, where versatile gains are achieved, are an indispensable part of education. For this purpose, the national workshop titled “Design your m³ on your campus” was held online with the voluntary participation of 47 students and 40 academicians from architecture, interior architecture and landscape architecture departments. The widespread use of online communication tools and online studies, which have gained momentum especially with the Covid-19 pandemic, in today's design education and the opportunities they provide have enabled the workshop to be organised online. This workshop was planned to have two important missions in design education. First, to ensure that academicians and students from different design disciplines come together with an interdisciplinary approach; second, in order to create this unity, it is to produce an experiential way that can turn online platforms into channels that can serve design education. Online workshop, designed as one of the experiential learning activities, has enabled one to be open to new experiences, to reveal the advantages of working with different disciplines, to understand and experience different perspectives. Therefore, it is anticipated that the workshop will contribute to other studies in terms of both enriching design education and producing these collaborations through different channels. It is hoped that this study, which aims to disseminate the obtained products to a wider area and share information, will be inspiring and guiding for future applications.

Considering the complexity of COVID-19 and post-pandemic learning conditions, how can we foster intercultural and real-world learning outcomes in design studios? This article explores the possibilities for situated learning experiences to prepare students for industry. Design sprints and designathons are intensive experiences used in studio settings to solve big problems and test new ideas in a short period of time. During these experiences, teams are facilitated through a design thinking process in which they ideate, prototype, and test solutions. When designed effectively, designathons and design sprints have the potential to foster rich and authentic, collaborative and problem-solving skill sets that are not otherwise possible in such a short timeframe in the traditional higher education learning environment. Through two learning examples of design sprints and designathons, both during and post-pandemic and situated in the context of real-world health problems, this article outlines the benefits and challenges of this learning approach.

This paper explores the implementation and evaluation of Imagination Agents, a mixed-methods case study, with young people aged 12–13, funded by a Royal Society of Arts Catalyst Award. The project was grounded in a flexible theory that imagination enables the necessary originality for creativity, enabling learners to construct personal understandings of their own learning which equate to metacognition, with this enabling the self-awareness and confidence for personal and, in turn, social/democratic agency. Life in a posthuman world necessitates the creation of new understandings, which can be produced through the application of imagination and agency, towards the conceptualisation and facilitation of positive change. Supporting learners to develop imagination and understand it metacognitively could result in personal agency which better equips them as participants within and activators of healthy environments. Based on Burns' (2024) models of cognitive/metacognitive imagination, we tried to support imagination and agency through a focus on the local environment. Implementation of the pedagogy and evaluation was very challenging in the school context. There was little space for imagination and agency. In conclusion, we consider how we might create such a space.

As artists and teachers in a Teacher Training Faculty, we have designed proposals for children that transfer our own experience as creators in the studio to the educational field. In this way, the classroom is configured into a versatile workplace, like the studio, allowing us to carry out and analyse different workshops for children with the aim of promoting creativity. These workshops, which we call ‘action scenarios’ take as references the different processes of creating materials and toys for children used by twentieth-century western artists. This research reflects on the design and implementation of these scenarios with the aim of identifying a series of principles or parameters that can help pre-school and primary school teachers plan, design and distinguish creative proposals in the visual arts. Four principles are identified: play as a principle of exploration, estrangement as an aesthetic principle, doing as a principle of thinking and cooperation as a principle of possibility. These principles are conceived as a flexible tool to explore and understand creativity in the educational field, especially among education professionals without training in the visual arts.

Youth arts programmes give young people access to different kinds of art skills, social networks and professional standard opportunities. This article explores a typology of youth arts from across five programmes in Denmark and England, examining through observations and interviews with staff and young people what kind of arts practices are centered within the programmes. Our categories incorporate programmes that are art skills focused, event-oriented, entrepreneurial, and open access. We recognize that the intentions and outcomes of youth arts programmes are not always as clearly defined as these categories. Yet we argue that there are dilemmas inherited with each category that can cause youth arts programmes to become diluted, fail to achieve stated aims and negatively affect the young person's experience. We offer a typology that characterizes the motivations and approaches of youth arts programmes, as well as the core potentials and dilemmas they involve, thereby sharing useful insights to the on-going development of current programmes as well as the formation of future programmes.

This paper outlines two collaborative, child-centred art projects I led in school settings as a child mental health expert and artist, which sought to explore how illustration, imagination and creativity can emotionally support, positively empower and visually inspire children to engage with emotional literacy, Adverse Childhood Experiences (ACEs), trauma, and eco-anxiety. These projects brought together my experience as a mental health practitioner, artist and educator, underpinned by an interdisciplinary synthesis of illustration theory, arts therapeutic models and neuroscience, with particular reference to ‘The Manifesto for Illustration Pedagogy’; Sean McNiff's arts therapy Dr Margot Sunderland's research on the importance of imagination to creativity, play and mindfulness; Attention Restoration Theory, Polyvagal Theory, Attachment and Nature Theory. The paper considers the implication of research showing (Kaimal 2017) art activities improve attention, health and wellbeing. Visual self-expression activates reward centres in the pre-frontal cortex, creating reward pathways that enable us to positively regulate our thoughts, actions and emotions (Kaimal 2017), and manage stress, which in turn promotes a capacity to learn and to be socially engaged. Secure attachments to people and nature are vital if children are to manage ACEs and the climate crisis without debilitating stress. I will evidence ways in which we can build these bonds of attachment to nature through imagination, creativity and research. I will demonstrate that opportunities to externalise our inner-world realities through words, image and metaphor, provide a containment that enables children to confront the harshest of outer realities, and empowers them for the future.

Universal design (UD) is a design philosophy that offers effective concepts and tools to help designers develop accessible products, services, and environments. Despite the growing need for inclusive design strategies, UD is not typically integrated into design education, particularly textile design. Textile design is associated with the process of utilising aesthetic and technical elements to develop fabrics but is rarely seen as a contributor to solutions in the realm of inclusivity. This study explores students' understanding of accessibility in the context of textile design and the impact of integrating UD into a textile design project. Thirty-one Bachelor of Science students majoring in textile design participated in a one-day workshop on UD and completed a project focused on applying the principles of UD to a home textile collection. Student mind maps and design projects were examined to assess their understanding of how textiles and accessibility intersect as well as the application of UD principles to design projects. Results show that students leveraged design elements in textiles, such as colour and texture, as communication tools, therapeutic interventions, and elements that contribute to the function and safety of a space. However, the low use of certain principles in the UD framework demonstrates that further examination on the application of UD to textile design is also merited. It is possible that modifications to the UD framework may be located to increase applicability to the field of textiles and textile design education.

This paper explores the role of imagination on art and design educators who undertake autoethnographic research in adult community learning (ACL) in the UK. ACL in the UK comprises community-based learning opportunities delivered by local authorities and general further education colleges (Department for Education [DfE] 2019) and provides accredited and non-accredited adult learning, primarily catering to learners aged 19 and above. Artist-teachers in ACL are professional artists and teachers, dedicated to both, who have the competencies needed to work in and through art and ACL. Imagination is central to autoethnographic research, and can therefore be an entry point to a subject or phenomenon understudy for art and design education research. This paper presents a case study of autoethnography as a research process and outcome, which is used to understand what conflicts artist-teachers in ACL face in their role. The case study presented draws upon my own experiences and interview data from 17 artist-teachers in ACL. Drawing on autoethnography, this paper relies on the researcher's imagination to interpret personal experiences and cultural phenomena (Bochner & Ellis 2016). Within the paper, the analysis of the autoethnographic writing is presented separately from the story.

Ecologies of collective imagination involve creating and sharing imagination practice. This modest piece of research engaged 10 artists, environmentalists, and educators to think together about how nature can be a source and a driver of the imagination and sense of possibility for individuals and communities. Together we focused on the concept of re-imagining learning, inside and outside, researching the space of imagination and possibility, nature and well-being for future generations. We explored how collective forms of imagination can engage individuals in actions related to environmental awareness and reparative justice, including ways of widening participation by engaging people who may have been excluded from the power of ecological learning and imagination, ultimately building aspiration and responding to change to build hope for the future. The premise of this project is that human lives are lived in the realm of the possible as much as they are in the here-and-now of immediate experience of the more-than-human world. In this project, we are interested in understanding how we imagine our lives as part of nature, focusing on the question “how can we cultivate an awareness of ‘possible lives’ in ways that respect nature and lead to more hopeful futures?” Our methodology will include opening up spaces for dialogue as a method for the construction of new theoretical and creative methodological tools and processes. This article will consider ecological imagination in the context of art and design education, and creative and eco-pedagogies through a multimodal approach, and a combination of visuals, poetry, and narrative.

In recent years, there has been a growing interest in community-based art education (CBAE) programmes targeting underprivileged groups. The sustainability of these programmes largely hinges on the level of commitment and engagement demonstrated by the volunteer teachers. Drawing on altruistic and egoistic motivations as the primary components of volunteer behaviour, this study explored the types of motivations and influencing factors driving the involvement of four volunteer teachers in a CBAE programme for rural-to-urban migrant children residing in a manufacturing city in China. Using a multiple-case study design, data were collected over 6 months, from April to September 2022, through semi-structured interviews, long-term participant observations and document analysis. The study findings revealed that all participants shared an altruistic motivation to address educational equity and positively impact the lives of migrant children through their engagement in the CBAE programme. In addition to altruistic motivations, two participants exhibited intrinsic motivations, as they derived personal satisfaction from teaching art and sharing the local culture. Meanwhile, the remaining two participants demonstrated extrinsic motivations driven by external factors such as employment demands and career development. The data further indicated that the volunteer teachers' prior artistic experiences, and their current positions and responsibilities, significantly shaped their sustained motivations towards the CBAE programme. Identifying personal and contextual factors that influence motivations to volunteer and leveraging migrant students' Funds of Knowledge are vital for successful CBAE programmes.